Piano Lessons- Music Theory Lessons

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.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I want to share a simple yet powerful approach to piano practice that can transform your playing. It’s not about practicing longer, but smarter. Let’s dive in.

The 5-Minute Rule

Ever feel overwhelmed by a challenging piece? Try this: commit to practicing it for just five minutes. Often, the hardest part is starting. Once you begin, momentum takes over, and you might find yourself practicing longer than planned. This technique helps overcome procrastination and builds consistency.

The One-Phrase Rule

Learning new repertoire can be daunting. Instead of tackling an entire piece, focus on just one phrase at a time. Master that phrase before moving on. This method ensures thorough understanding and prevents burnout.

The Reflection Rule

At the end of your practice session, take a moment to reflect. Ask yourself, ‘What did I do well today?’ and ‘What can I improve tomorrow?’ This self-assessment accelerates your growth and keeps you engaged in your musical journey.

Putting It All Together
Implementing these three simple strategies—the 5-Minute Rule, the One-Phrase Rule, and the Reflection Rule—can make your practice sessions more productive and enjoyable. Remember, it’s about quality, not quantity.

I’m Robert Estrin. Welcome to LivingPianos.com. One of the most essential techniques for any pianist is achieving a smooth, connected sound, particularly when dealing with repeated notes and chords. While it may seem straightforward at first, this is actually a tricky task due to the unique mechanics of the piano. On other instruments, creating legato in repeated notes can be relatively simple, but on the piano, it presents a great challenge. Let’s take a closer look at why this is and how you can improve your approach.

The Challenge of Repeated Notes

When playing repeated single notes on the piano, you have the ability to change fingers, which makes it easier to create a legato, or connected, sound. By alternating fingers, you can maintain a smooth flow of sound without it becoming choppy. This simple finger alternation technique allows you to play smoothly without the harshness that might come from using a single finger for every repeated note. However, this technique is impossible when you’re dealing with repeated chords.

Legato in Repeated Chords: A Bigger Challenge

Achieving legato in repeated chords is much more difficult because you don’t have the option to change fingers for each of the notes. This issue is especially evident in pieces like Chopin’s E minor Prelude, where repeated chords are a central feature of the piece.

Without proper technique, the sound of repeated chords can become disjointed and lack the smooth, flowing quality that you want. It’s tempting to rely on the sustain pedal to help connect the notes, but doing so can lead to a blurred sound and makes it impossible to use the pedal to enhance the melody line.

Pedal Use vs. Hand Legato

The key to achieving legato in repeated chords lies in your fingers, not just the pedal. While it’s common to use the sustain pedal to connect notes in situations like this, relying on it too much can compromise the clarity of the music. If you use the pedal without playing the chords legato, the sound can become muddy, especially in faster passages or when multiple chords are involved. Instead, the goal is to create smooth connections between the notes of each chord with your hands. This allows the pedal to serve as an expressive tool for shaping the melody, rather than simply connecting the notes of the chords.

When you focus on playing the repeated chords legato with your hands, you gain more control over the sound. The pedal can then be used to enhance the tonal quality of the meldoy and bring out the expressiveness of the piece, rather than relying on it to make up for a lack of hand legato.

The Art of Connecting Chords

To effectively play repeated chords legato, you need to keep your fingers right on the keys. Be sure to allow each of the keys to come all the way up without ever losing contact with the keys. Each note within the chord should be connected smoothly, which means avoiding any breaks between notes. This requires careful finger placement and awareness of how your fingers transition from one chord to the next.

When you master the art of hand legato in repeated chords, you can use the pedal more creatively to add warmth and expressiveness to the melody. The pedal should not be the sole means of just connecting the chords but rather a tool to elevate the music as a whole. With proper legato technique, the pedal becomes an extension of your playing, allowing you to shape the sound and add depth to your performance.

Applying Legato in Other Pieces

This technique is not limited to just one piece or one style of music. It’s essential in many classical works, such as Beethoven’s Pathétique Sonata, where smooth, legato playing is needed to connect repeated chords in the left hand. In these cases, using the pedal to smooth over the notes can often lead to a less refined sound, as the pedal blurs the melody line.

When you focus on playing the left hand legato without relying on the pedal, the results are much clearer and more expressive. By combining legato with careful pedal use, you create a much more refined and musical sound.

Using Legato and Pedal Together

To sum up, when you’re playing repeated chords or notes, your primary focus should be on achieving legato with your hands. Don’t rely on the pedal to connect what your fingers can already make smooth. Once you have a solid legato foundation with your hands, the pedal can be used more effectively as a tool for musical expression, enhancing your sound without muddying the melody. By practicing this technique and focusing on hand legato, you’ll find that your piano playing becomes more fluid, expressive, and controlled.

I’m Robert Estrin. Welcome to LivingPianos.com. The Moonlight Sonata is one of Beethoven’s most famous works, and it’s easy to see why so many pianists love to play the first movement. But, is it really as easy as it sounds? While the third movement is obviously difficult, it’s the first movement that can sometimes catch pianists off guard. Let’s take a closer look at why this movement is deceptively challenging.

The Challenge of the First Movement

The first movement is slow and serene, but that doesn’t mean it’s easy. At first glance, the melody seems simple, and the triplets in the accompaniment may seem easy enough, but achieving the right balance and sound requires some delicate control.

The key to playing this piece correctly is understanding how to balance the slow, singing melody with the faster triplets in the accompaniment. If you’re not careful, those triplets can easily overpower the melody, which can ruin the mood of the piece.

Quiet Triplets, Prominent Melody

A common mistake many pianists make is allowing the triplets to become too loud or intrusive. You want those triplets to be as quiet and unobtrusive as possible, creating a gentle, flowing accompaniment. The melody, on the other hand, needs to be brought out clearly and distinctly. It’s easy to let the accompaniment drown out the melody. It’s important to keep your fingers close to the keys while playing the triplets to maintain a soft and delicate sound.

Creating the Mood

The magic of the first movement lies in the contrast between the melody and the accompaniment. The triplets should feel like a “babbling brook,” gently flowing in the background while the melody floats above it. If you allow the triplets to be too loud, the music can sound hurried, and the entire mood of the piece will feel rushed. The right balance makes the music feel timeless and serene, creating a powerful emotional experience for the listener.

Practice Techniques for Better Control

So how can you achieve this balance in your practice? One effective way is to practice using different articulations. By focusing on the distinction between the melody and accompaniment, you train your hand to separate these two elements.

Start by playing the melody with a more legato, connected sound and the accompaniment with short, gentle finger staccato. This might be difficult at first, especially if you’re not used to such an approach, but stick with it. Practicing slowly and carefully will help you build the control you need to create that perfect balance. Focus on playing the melody notes strongly, and allow the accompaniment to be light and detached.

The Importance of Voicing and Hand Position

By practicing this way, your hand learns to differentiate between the melody and the accompaniment. Once you’ve mastered this, it becomes much easier to delineate dynamics, the loud and soft balance between the parts, replacing the short and long approach. This method helps you refine your hand control and the voicing of different parts within the same hand, making it easier to achieve a more balanced sound.

Other Movements of the Sonata

While the first movement is technically difficult, it’s important to note that the other movements present their own challenges as well. The second movement, though it may seem simple on the surface, requires a deep understanding of musicality. Capturing the lightness, gracefulness, and subtle humor of this movement is no easy task.

And then, of course, the third movement is famously fast and powerful. The sheer speed and technical demands are obvious, but the other movements—musically and technically—are not necessarily easier. Voicing and phrasing in all three movements require attention to detail and careful practice.

The Moonlight Sonata is not a piece to be underestimated.

While the first movement’s slow, tranquil pace may seem simple, achieving the right balance between the melody and the accompaniment presents a great challenge. With practice, you’ll be able to master the subtleties and truly bring this beautiful piece to life.