Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com. I’m Robert Estrin. If you’ve watched my videos, you know I’m not a big fan of doing endless exercises. In fact, I often suggest turning your music into exercises. That approach can solve many problems while also solidifying the pieces you actually play. But today, we’re going to talk about four essential exercises that can elevate your piano playing. Anyone serious about playing the piano should include these four things in their practice routine. You’ll get tremendous benefits from them.

1. Scales

It’s not just about playing scales. It’s how you practice them that makes the real difference. Did you know that it’s much harder to lift fingers off the keys than to push them down? I’ve demonstrated this many times. Try it yourself. You’ll notice, especially with your fourth finger, that cleanly lifting it is more difficult than pressing it down. The best way to develop control is with slow practice, raising your fingers deliberately while keeping your hands relaxed. Use only your fingers, not your arms. Let the power come from the fingers themselves. As you practice slowly, keep your thumb tucked under in advance of when it needs to play. This is crucial for fluid thumb crossings. For example, in the right hand, the thumb should be tucked under the whole time except when it plays. This preparation avoids awkward movements when playing fast. The same principle applies in reverse for the left hand. Focus on raised, rounded fingers, with no up-and-down arm motion. You’ll start to feel strength and independence building in your fingers through this deliberate approach.

Interestingly, slow practice builds more muscular benefits than fast playing. Do four repetitions slowly at a tempo like 60 BPM, or whatever is comfortable for you. Once you’re confident, move on to two notes per beat, then four notes per beat. At faster speeds, lighten up and stay close to the keys to develop fluency. There’s no time to raise your fingers at that pace, so listen carefully for evenness and consistency. There are many ways to vary your scale practice, such as changing the phrasing, articulation, or dynamics. But before exploring those variations, it’s essential to first master the fundamentals. Learn all the major scales thoroughly and with intention.

2. Arpeggios

Arpeggios are just as important as scales, and they’re practiced in a similar manner. One complication with arpeggios is that thumb crossings are wider, so you might run into issues where your hands feel cramped or awkward. Just like with scales, tuck the thumb under in advance, but also incorporate a slight hand rotation. This lets you avoid raising your shoulders or adding unnecessary tension. Your right hand rotates slightly as the thumb passes under, and in the left hand, it’s the same idea in reverse. Always prepare the next note in advance.

You can also break down arpeggios into shorter groupings, which can help develop control and accuracy. There are many ways to approach this, and I’ve made plenty of videos on the subject. If you visit LivingPianos.com and type “arpeggios” in the search box, you’ll find a wealth of material to explore!

3. Developing the Wrist

Finger technique is only part of the story. Your wrists are also instrumental in piano technique, particularly for staccato, octaves, and chords. One of the best ways to train the wrist is with a simple exercise in thirds, using just the wrist for motion. It’s important to isolate the wrist from the arm. The arms are heavy and clumsy and simply can’t move fast enough. The goal is to identify and isolate wrist motion. In the exercise, your arms should not move up and down. Instead, let the arms guide your hands over the correct keys, and strike from above with a quick, sudden motion from the wrist. If this is new to you, you’ll feel it in your forearms. These are muscles you don’t typically use, so that’s a good sign. However, if you find yourself using the whole arm to generate motion, stop. That’s not the technique you’re going for.

This might seem like a simple exercise, but it’s all in the execution. Just go through this routine a few times a day and you’ll be amazed how much it helps with control and clarity in everything from staccato to dense chordal passages. When you see someone playing crisp staccato or powerful chords with ease, much of that control is coming from proper wrist technique. Take a piece like Beethoven’s “Waldstein” Sonata, which is filled with repeated chords. If you try to play that with your arms, you’ll tire out quickly and lose articulation. Wrist technique allows for speed and lightness, which are critical in such music.

4. Octaves

The final exercise is octaves. This builds directly on the wrist technique we’ve already explored. This uses the same wrist principle but adds the strength of the hand’s arch. Why is the arch important? Because it equalizes the power between the strong thumb and the weaker pinky. Without the arch, your thumb would dominate and the sound would be uneven.

Start with a metronome at 60. Strike from above with the wrist, preparing each octave position in advance. Be sure to keep your second finger curled. That maintains the structural integrity of the hand. Use the wrist to balance the pinky and thumb so both land evenly. If you don’t do this, you’ll get a heavy, uneven sound where the thumb overpowers everything. Relax your shoulders and focus all the motion in the wrist. Imagine bouncing a ball. The energy comes from a quick, natural release, not a forced push. If you try to play octaves with your arms, you’ll quickly hit a wall with speed and stamina. The wrist allows for quick, fluid motion and prevents fatigue. Do as many repetitions as you can while maintaining proper form. Over time, this will dramatically improve your endurance, clarity, and control with octaves.

These Are Four Essential Exercises

Spend just a few minutes on each of these every day and you’ll see real improvement in your playing. Learn all the major and minor scales and arpeggios, and take your time. There’s no rush. You have a lifetime to enjoy the piano and develop your artistry! Thanks for joining me here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Recently, I had the pleasure of visiting the Piano Performance Museum in Hunter, New York, right in the heart of the beautiful Catskill Mountains. This incredible place is filled with historic keyboard instruments, from harpsichords and clavichords to early pianos that composers like Mozart, Clementi, and Chopin would have known. In this video, I take you on a tour through music history, playing many of these remarkable instruments. Some even have a personal connection to my own family, which made the experience all the more special. It’s an unforgettable journey through the evolution of the piano, and I’m excited to share it with you!

The Piano Performance Museum is nestled in this small mountain village, and provides a walk through piano history featuring instruments from the harpsichord through to the modern piano. There were some remarkable surprises in store for me and you can get a glimpse of this fascinating place by watching the accompanying video.

The first that hit me were the very first two instruments you see upon entering: a 2-manual Taskin French model harpsichord and a Stein fortepiano. These instruments are incredibly familiar to me since they are the same instruments I toured with in my Living Piano: Journey Through Time: Historic Concert Experience! These are the only replicas on the floor. The dozens of other early pianos (going back centuries) are all original instruments. What makes this museum so special is that almost all of the pianos are in good playing condition, and if you are a pianist, you are welcome to play them! This really aligns with my Living Piano show where I always invited the audience up to the stage to play the instruments after the performances.

What was an incredible shock was that on the adjacent wall at the entrance was a huge showcase with hundreds of intricate miniature pianos with a sign, The Diane Estrin Miniature Piano Collection”. I had no idea that my aunt had this incredible collection and bequeathed them to the museum. My Aunt Diane studied piano at Juilliard as well as with my father.

Aside from a collection of dozens of pianos going through piano history from square grands, to straight strung pianos, magnificent art-case uprights and grands, through to modern concert grands; the museum also houses a performance hall and a movie theater with regular live events featuring period piano performances. They also host piano concerts at other venues throughout the region.

So, if you are ever going to be in the area, call ahead and make a reservation to visit the Piano Performance Museum. It is a unique experience that will heighten your appreciation of the development of the instrument we know and love, the piano.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re exploring the third and final movement of Clementi’s Sonatina in C major, Opus 36, No. 1 — one of the most iconic beginner-intermediate pieces in the classical piano repertoire. This lighthearted, energetic movement offers a great opportunity to refine your technique, articulation, and dynamic control, all while experiencing the elegance of Classical style. Even if you haven’t studied the earlier movements, there’s a lot to gain from understanding the approach to this final section. Let’s dive in.

Feel the Beat in One

The third movement is written in 3/8 time, which often confuses students. Instead of feeling three separate eighth-note beats per measure, you want to feel a single beat — one per bar. This gives the movement the lively, dance-like character it needs. If you count all three beats, it can drag and feel clumsy. Aim for a tempo where you’re thinking of each measure as one pulse. That mental shift alone can breathe energy and flow into your playing.

Articulation and Dynamics

One of the challenges of this piece is that, like many Classical-era compositions, the score may lack detailed markings for articulation and phrasing. Clementi didn’t write in slurs, staccatos, or dynamic contrasts consistently, because it wasn’t customary at the time. That doesn’t mean the music should be played mechanically. It’s up to you to bring the music to life. Think of the implied phrasing and consider where it makes musical sense to shape the line. Staccatos, dynamic contrasts, and subtle tempo shaping are essential for giving the piece its charm and clarity. For example, if you play every note with the same touch and volume, the piece quickly becomes dull. But if you emphasize the melody in the right hand and allow the left hand to stay in the background, suddenly the musical lines start to sing. This contrast is especially important in Classical music, where the clarity of texture is everything.

Dynamics: Let the Right Hand Lead

In this movement, and in much of the Classical repertoire, dynamic expression should come primarily from the right hand, which usually carries the melody. If you apply equal dynamics to both hands, the melody can be buried under the accompaniment. When playing louder (forte), let the right hand carry the intensity, while the left hand provides rhythmic and harmonic support without overpowering. This careful control creates the light, transparent sound characteristic of the Classical style.

Crisp Staccato is All in the Wrist

One of the most important technical tools in this movement is staccato — short, detached notes that create a buoyant, playful texture. The key to achieving a clean staccato is using the wrist, not the arm. If you use your arm to play staccato, the result is often heavy and sluggish. It also limits your speed and control. By isolating the motion in the wrist, you get a lighter, quicker response that’s much more stylistically appropriate for this music. This technique applies not just to Clementi, but to composers like Mozart, Haydn, and early Beethoven as well. The wrist provides the agility needed for the elegance and precision of Classical articulation.

A Broader Application of Technique

The technical and musical principles you apply in this sonatina are not limited to Clementi. These are foundational concepts that can be carried into a wide range of Classical literature. Take Mozart’s Sonata in C major, K. 545, for example — another cornerstone of student repertoire. In that piece as well, a light touch, clear voicing, and quick wrist staccato make all the difference in capturing the graceful style. If you try to muscle through it with heavy arm movements, the character is lost. In fact, once you start applying proper wrist technique and thoughtful dynamic control, you may find that even difficult passages become more manageable. The music becomes more expressive and less physically demanding, because you’re playing with the right mechanics and musical intention.

Refining Your Craft Through Clementi

The third movement of Clementi’s Sonatina in C major is more than just a fun finale — it’s a valuable study in articulation, balance, and Classical style. By feeling one beat per measure, shaping phrases with dynamics, and mastering light wrist staccato, you can bring out the joyful energy of this music. Best of all, the techniques you learn here will continue to serve you in a wide range of classical pieces. So take your time, listen closely to your sound, and enjoy the elegance of this delightful work.

Thanks for joining me here at LivingPianos.com, Your Online Piano Resource. See you next time!

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re continuing our multi-part series on How to learn and play Clementi’s Sonatina in C Major, Opus 36, No. 1. This article focuses on the second movement, a lyrical contrast to the vibrant first and third movements. More than just learning the notes, we’ll explore how to elevate your performance to a high expressive level.

This is the second in a four-part series, which includes an in-depth look at each of the three movements, as well as a complete performance of the work.

A Stark Contrast from the First Movement

The second movement is a complete departure from the bright energy of the first. Where the first movement features crisp staccato, lively fingerwork, and dynamic contrasts, the second movement introduces a gentler, more introspective mood and tonal palette.

An important tip when performing this piece: between movements, don’t lift your hands from the keyboard. If you do, audiences may mistakenly think the piece has ended and applaud prematurely. The three movements together create a greater artistic impact than each one alone. So keep your hands on the keys, transition directly, and let the music flow seamlessly.

The Hidden Challenge of the Second Movement

Though slower and more lyrical, this movement is arguably the most difficult of the three. Why? Primarily because of the balance between the hands. Here’s the issue: high notes on the piano fade more quickly than low notes. On top of that, the left hand often plays two or three times more notes than the right. If you play both hands at equal volume, the melody in the right hand will be lost under the busier bass. To correct this, the left hand must be extremely light, almost feather-like. Keep your fingers close to the keys and use minimal effort. In contrast, the right hand melody requires more weight from the arm to sustain notes and create a singing line.

The Importance of Tempo

The movement is marked Andante, which means ‘a walking pace.’ It should feel relaxed but not drag. Playing it too slowly causes the melody to lose shape and energy. A slightly quicker tempo helps the melody connect more naturally, especially given the fading quality of the higher notes.

Breathing Life Into the Phrases

All the phrases in this movement — and in most lyrical classical music — need to rise and fall dynamically, just like the natural inflection of speech or breathing. Without this shaping, the music sounds robotic. Think of each phrase as a musical breath: a gentle swell followed by a natural relaxation. This gives your playing vitality and emotional impact. To achieve this, use your arm weight in the right hand and transfer it smoothly from note to note. Don’t try to calculate the volume of each finger. Instead, feel the line as a whole and let it breathe.

Simplifying the Trill

There is a trill early in the movement, and it’s a common stumbling block. Don’t feel compelled to play a large number of notes. Instead, simply play two notes for each triplet eighth in the left hand. This sounds elegant and musical without overcomplicating your technique. Later, if you gain confidence, you can embellish further by playing more notes. But keep it simple at first. Trills offer creative license. They don’t require a set number of notes. What matters is musicality and flow and to decide how many notes you will play.

Connecting Repeated Notes

A particularly challenging aspect of this movement is dealing with repeated notes, which are hard to play legato since the same key must fully release before being played again. To solve this, you must change fingers on repeated notes and lift previously played fingers high. For example, going from finger 5 to 4 on the same note, the 5th finger must lift high above the key before repeating the note. If the previous finger doesn’t lift sufficiently, the connection will be broken and sound detached. This technique allows you to create a smooth, singing line, which is crucial for expressive playing.

No Pedal Required

It’s possible — and preferable — to play this entire movement without using the pedal. This forces you to develop finger control and clarity. The pedal can easily muddy the texture and mask weaknesses in legato technique. By learning to control your phrasing and legato with your hands alone, you’ll develop a much more refined touch, and a deeper connection to the music.

Phrasing and Rhythmic Nuance

When you encounter dotted rhythms, be mindful of their precise placement. For instance, a sixteenth note following a dotted eighth should not fall exactly halfway between the beat. It should come slightly earlier. Getting this rhythmic placement correct adds grace and authenticity to your playing. Incorrect placement can make the phrase sound awkward or stiff.

Playing Repeated Notes in Thirds Smoothly

In one passage, you encounter repeated notes in thirds, making finger changes impossible. Instead, make sure you stay close to the keys and let the keys return fully between repetitions. This technique is subtle but essential. It allows you to maintain smoothness even when technical options are limited.

Shaping the Final Phrases

Toward the end of the movement, you’ll find phrases that taper off dynamically. Don’t rush these just because the measure “looks” shorter. Each measure takes the same amount of time, regardless of how many notes it contains. Also, don’t let the final notes stick out. Begin with enough sound on the longer notes so you can naturally decrescendo into the phrase ending. If the long note is too soft to start with, you won’t be able to taper off, and the last note will pop out unnaturally.

Thumb Repetition and Legato

At one point, you’ll have to play a sixth interval with the thumb on two consecutive notes. Since it’s impossible to connect a thumb to itself, don’t try to force a legato between those bottom notes. Instead, connect the top notes and let the bottom be slightly detached. That way, the melody still flows. This is a common technique in piano playing — connecting what you can, and releasing what you must, while maintaining the illusion of complete legato of all notes.

Dynamics: It’s About Tone, Not Volume

Even in soft passages, you can use generous arm weight to produce a full, projecting tone. Piano doesn’t mean lifeless or weak. If you’ve ever heard a flute or oboe solo marked piano in an orchestra, you know it still carries throughout the hall. The same applies to piano playing: dynamics are relative and expressive, not measured by a decibel meter. So don’t be afraid to use more sound than you think you need. A rich tone is essential to communicating the line, especially in a performance space.

Repeated Techniques Throughout the Movement

Throughout the movement, you’ll encounter repeated note patterns again. Apply the same techniques. Change fingers when possible, lift previously played fingers, and shape the phrase with rise and fall. Eventually, the first theme returns, giving the movement a sense of unity and closure.

Skills You Can Use Across Classical Music

This lyrical second movement offers a wonderful opportunity to develop your expressive playing and technical control. Everything you learn here applies not only to the other movements of this sonatina, but also to a wide range of classical repertoire — from other Clementi works to Mozart, Haydn, Beethoven, and beyond. The principles of balance, phrase shaping, and touch are universal. I hope you find these insights helpful in your own practice. I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Resource.

Sonata-Allegro Form Overview

The first movement is in sonata-allegro form, which is the most prevalent structure in Western classical music. It’s used in countless sonatas, symphonies, string quartets, piano trios, and more by composers like Mozart, Beethoven, Schumann, Shostakovich, and Brahms.

Here’s a quick overview: it’s essentially an ABC structure.

• A – Exposition: This introduces two contrasting themes. The first is in the tonic key, C major. Then comes the second theme in the dominant key, which is five notes above the tonic — in this case, G major. You’ll know the exposition ends because it repeats.
• B – Development: Here, the two themes are developed and transformed. In Beethoven’s works, development sections can become epic, but in Clementi, and even in Mozart and Haydn, they are generally more concise.
• C – Recapitulation: The original themes return, but this time both are in the tonic key so it ends where it began.

In this piece, both the development and recapitulation also repeat. This was common practice in Mozart’s sonatas, though Beethoven later moved away from this, often repeating only the exposition.

How to Interpret the Score

I’m working from an urtext edition, which means the only markings are those that Clementi himself wrote. There are fingerings, some dynamics, but no slurs or staccatos. Does that mean everything should be played evenly with no articulations? Absolutely not.

In Clementi’s time, composers didn’t include every articulation or expressive marking the way Romantic and later composers did. Instead, performers were expected to interpret based on style and context.

Without any articulations, it would lose its spark. Classical music relies on clarity of line, which is achieved through articulation.

Technique: Articulation and Tone

To get that crisp classical sound, you’ll want to use staccato from the wrist, not the arm. The arm is too heavy and awkward, while the wrist provides the right amount of bounce and clarity.

Left Hand: Hover slightly over the keys with a gently bent wrist. Drop down and bounce right back up, using only the wrist.

Right Hand: Here, you’ll encounter slurs leading into staccatos. The technique is down on the first note of the slur, then up on the staccato note. When combined at tempo, it creates brilliance and contrast.

Interpreting Dynamics

This piece does include dynamics, which is helpful because many earlier works (such as Bach’s) generally didn’t have any written dynamics.

When learning the piece, exaggerate the phrasing and dynamics while playing slowly. As you speed up, dynamics tend to diminish, so over-exaggerating early on helps lock in the musical intention and supports memorization through muscle memory.

I recommend using a metronome and learning all phrasing and dynamics from the very beginning. Once your fingers are used to playing a certain way, it’s incredibly hard to undo later.

Practice Tips for Tricky Passages

One of the more challenging spots is the passage in thirds at the end of measure six. The first part is a simple G major scale, but the thirds require solid fingering.

• Practice in two-note groups to internalize the fingering.
• Then do hands together the same way.
• Add a crescendo leading up to the forte for musical shape and energy.

Once you’ve isolated the difficulty and achieved fluency, you’ll be able to bring it up to tempo smoothly.

Tremolos and the Development Section

The second section has a tremolo around the fifth measure of the development. The key to tremolo is rotation of the hand, not finger movement alone. Rotation is efficient and effortless, while using just the fingers causes tension and fatigue.

Apply the same techniques throughout the second half of the movement: wrist staccato, strong finger legato, and careful dynamic shaping. As you gain speed, lighten your touch, stay close to the keys, and let the arms guide motion rather than pressing down on each note.

Gaining Speed with Metronome Practice

If you’re struggling with speed, first get your playing completely secure at a slower tempo. Then increase the tempo one notch at a time.

You don’t need to move the entire piece notch by notch. Instead, focus on the challenging passages. This targeted approach makes metronome practice far more efficient.

Solidify your foundation and everything else will fall into place. Slow, methodical work upfront pays off tremendously in the long run.

Coming Up Next…

Stay tuned for Part Two, where I’ll cover how to approach the second movement, which presents a whole new set of technical challenges.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to discuss the secrets to releasing notes on the piano. I don’t know how many of you have ever thought about this, but it has a profound effect on your music. Of course, pianists often focus heavily on how to press the keys—technique, tone, expression—but the release is equally important.

Beyond the Attack: What Happens When You Let Go

You can shape the character of a passage by how you let go of the keys. Whether you aim for a smooth legato line or a slightly detached articulation, it’s the release that determines the space between notes. This is a subtle, but critical element in creating clean, expressive scale and arpeggio playing—not just how notes begin, but how they end.

The Physical Mechanics of Releasing Notes

When you lift your fingers off the keys, the dampers come into contact with the strings and stop the sound. This release process can be managed in conjunction with the sustain pedal, and the speed at which you lift the pedal also dramatically affects tone and character. For example, if you’re ending a Chopin nocturne and you want the sound to gradually fade away, you must release your hands and the pedal very slowly. This creates a gentle, nuanced decay. It allows the final sound to linger beautifully in the air, as you might hear in the B-flat minor Nocturne.

Not All Music Wants to Fade

Now let’s look at a completely different approach. Suppose you’re playing Bach. Remember, Bach didn’t compose for the modern piano. His keyboard music was written for instruments like the harpsichord, where the sound stops abruptly and often includes a clicking noise from the mechanism—historically, duck quills plucked the strings. To stay true to that style, it’s appropriate to release quickly at the end of a phrase or movement. For example, in the first movement of the Italian Concerto, the ending benefits from a crisp, sudden release. This gives the music a rhythmic vitality and energy appropriate to the style. If you were to play that same ending with a slow release, like you might in Chopin, it would completely change the mood. The music would lose its sense of closure and momentum.

Style Determines Release

Conversely, imagine ending a romantic piece like that same Chopin nocturne with an abrupt, percussive release. It would feel jarring and inappropriate—almost like an emotional disconnect. As I like to say, it’s like the emotional equivalent of a tender moment followed by a slap! It simply doesn’t fit. So, when playing romantic music, let your sound linger. Release your hands and pedal slowly. When playing Baroque music—or even more vigorous 20th-century repertoire like Prokofiev—use a quick, clear release to punctuate the energy.

Match Your Release to the Music

How you release notes at the piano plays a major role in shaping the character of your performance. Whether you want the sound to fade gracefully or end with clarity and precision depends on the style and emotional intent of the piece. Be sensitive to the sound and always align your technique with the music you’re interpreting. Let me know how helpful this is for you in the comments here at LivingPianos.com and on YouTube.

Welcome to LivingPianos.com. I’m Robert Estrin. Understanding how to approach the music of Mozart and Chopin is essential for any pianist aiming to play with stylistic integrity. These two great composers come from different musical eras, and while both wrote beautiful music, the way expression functions in their work is dramatically different.

Mozart: Clarity, Structure, and Classical Balance

Mozart’s music is the epitome of Classical form and architecture. It’s carefully constructed, with a clear purpose behind every note. The second movement of his well-known Turkish Sonata K331—a gentle minuet in 3/4 time—is a perfect example of this clarity. The sections are distinct and balanced, and the overall feel is elegant, with a transparent texture.

The Classical period focused on proportion and order. The pianos of Mozart’s time also had a lighter, more percussive tone, a narrower range (about five octaves), and very limited sustain. There were no pedals as we know them today. A lever operated with the knee could achieve some sustained effects, but the overall sound remained clear and crisp. This means that using a lot of pedal or excessive rubato in Mozart would be out of place, stylistically and sonically.

Chopin: Expression, Rubato, and Romantic Color

Chopin, writing during the Romantic era, had a vastly different instrument to work with. The piano in his time wasn’t the fully developed instrument we know and love today, but it was much closer. It had nearly the full 88-key range and more advanced mechanics, allowing for greater dynamic control and expression. Importantly, it had pedals, and Chopin made full use of them.

When playing Chopin, rubato becomes a major expressive tool. This give and take with the tempo doesn’t alter the overall timing, but it allows the performer to play around the beat, giving the music a natural, singing quality. This expressive freedom is essential to Chopin’s style, especially in his waltzes, mazurkas, nocturnes, and other dance-inspired works. Unlike Mozart, where the music’s structure is at the forefront, Chopin’s music prioritizes emotional expression. There’s room for a wide variety of interpretations, and no two performances of the same piece will sound alike.

Different Tools, Different Language

The evolution of the piano plays a big role in how we interpret these composers today. Mozart’s music, born in a time of limited pedal and dynamic options, thrives on clarity and rhythmic precision. Chopin’s music, on the other hand, blossoms with the expressive capabilities of the more modern instrument.

For example, in Chopin’s Waltz in A-flat major, we hear the flexibility of tempo and color. This contrasts sharply with the structure and lightness of Mozart’s minuet. It wouldn’t make sense to apply the same interpretive tools to both pieces. Even though they’re both in 3/4 time, the style and character are completely different.

What Happens When You Switch Styles?

As a kind of experiment, imagine playing Mozart in a Romantic style—full of pedal, rubato, and heavy expression. What happens? The music loses its clean architecture and turns overly sentimental. It feels out of character. Now, try the reverse: play Chopin as if it were Mozart. Keep everything strictly in time, use minimal pedal, and avoid expressive bending of the tempo. Suddenly, the piece feels cold and rigid. You lose the flowing, lyrical line that defines Chopin’s voice. These kinds of comparisons make the distinction crystal clear: the music simply works better when approached with the correct stylistic framework.

Know the Style, Know the Composer

To play Mozart with authenticity, think form, clarity, and precision. Keep pedal use minimal, and let the music speak with its natural elegance. To play Chopin well, embrace the expressive possibilities of the modern piano. Use rubato tastefully, pedal liberally (but sensitively), and aim for a singing tone that brings out the emotional depth of the music.

Understanding the period style not only honors the composer’s intentions, but also helps the music come alive in the most natural and effective way. If you ever doubt that, just try flipping the styles and listen for yourself.

You can listen to the accompanying video and hear what these composers sound when played in each other’s styles. I’m curious to hear your thoughts on the distinct styles of Mozart and Chopin. Which approach resonates with you more when you play or listen to their music? Feel free to share your impressions in the comments here at LivingPianos.com and on YouTube. It’s always fascinating to explore how these differences come across to different people.

Welcome to LivingPianos.com. I’m Robert Estrin. Have you ever watched a musician perform and thought, “Wow, they must have been born with it—they probably never even have to practice”? It can seem that way, especially when you encounter people who go out of their way to make it look effortless. But let’s take a closer look at whether that’s really the case.

The Illusion of Effortlessness

There’s a trend among some musicians—especially young, gifted ones—to downplay how much they practice. It’s almost as if claiming not to practice is a badge of honor, a way to prove just how naturally talented they are. But the truth is usually very different.

I was recently listening to a podcast featuring the phenomenal pianist Evgeny Kissin. Someone asked him how much he practiced as a child. His answer? Not much at first. He could pick things up quickly and get by. But as he matured and tackled more demanding repertoire, the reality set in that he had to practice, and a lot. I had the privilege of hearing Kissin perform a solo recital in Cleveland recently, and believe me, this man puts in the work.

The “I Don’t Need to Practice” Attitude

Back in New York, my wife Florence, a flutist, would often perform with orchestras and ensembles. At rehearsals, music would be passed out, and some players would just leave the music on the stand when rehearsal ended. “Oh, I don’t need this,” they’d say casually. The implication was: this is so easy, I don’t even need to practice.

Florence, on the other hand, would always take the music home. Practicing gave her the comfort and confidence to enjoy the performance, rather than teeter on the edge. Ironically, a lot of those same students probably slipped into the library later, found the same music, and practiced intensely—just in private. So why pretend? Maybe it’s to psych others out, to make it seem like they’re on another level. But the truth always comes out.

A Personal Story: Smoke and Mirrors

Years ago, I attended an in-home concert in San Diego featuring a very accomplished young pianist. He played a phenomenal recital—virtuosic, musical, the whole package. Later, in conversation, he casually remarked that he didn’t really need to practice much. He claimed he could read through most music and learn it that way. Then, he asked to see an extremely difficult transcription that someone had, and began to read through it. He acted like he’d never seen it before. He read through it impressively. He said he enters such a deep state of concentration when he reads that he internalizes the music instantly. Then, to our amazement, he put the score away and played it from memory.

I was stunned. It made me question everything I thought I knew about learning music. But the next day, curiosity got the better of me. I visited his website—and there it was. That exact piece was already listed in his repertoire! It had clearly been practiced and prepared well before this so-called sight-reading miracle. The day after, it mysteriously disappeared from the site. But not fast enough—I’d seen the truth. Later, I found out from people who knew him well: yes, he practiced, and a lot. Hours and hours every day.

Everyone Has to Practice!

So let’s put this myth to rest once and for all. No one becomes a high-level player without serious practice. The idea that some people are just so naturally gifted that they don’t need to put in the work? It’s a fairy tale, often spread by people who want to seem superhuman.

Welcome to LivingPianos.com. I’m Robert Estrin. Some of the greatest composers in history left behind an astonishing legacy, even though they lived remarkably short lives. You may know all these names, but chances are, you didn’t realize how young some of them were when they died. Let’s take a closer look at seven remarkable composers who, despite their short lives, made lasting contributions to music.

Wolfgang Amadeus Mozart

Of course, we have to start with Mozart. Born in 1756 and passing away in 1791 at the age of only 35, Mozart left behind more than 600 works—an extraordinary output that includes operas, symphonies, concertos, chamber music, and more. Just for piano alone, he wrote 28 sonatas and 27 concertos, along with fantasies and variations. His influence on Western music cannot be overstated.

Franz Schubert

Another prolific composer with an even shorter life was Franz Schubert. He lived from 1797 to 1828, dying at just 31 years old. Yet he composed over 1,500 works! That includes around 600 Lieder—beautiful songs for voice and piano—as well as symphonies, chamber music, and 21 piano sonatas. Only 11 of those sonatas are considered fully complete, but what a treasure trove of music he gave us in such a short time. Schubert was truly a master of melody.

Felix Mendelssohn

Felix Mendelssohn, born in 1809 and gone by 1847, lived to the age of 38. His output? Over 750 works. Symphonies, concertos, chamber works, solo piano pieces, oratorios, and much more. He had a remarkable gift for lyrical beauty and classical structure, balancing innovation with tradition. His music continues to be cherished around the world.

Frédéric Chopin

Chopin lived from 1810 to 1849 and died at age 39. His legacy is immense, especially for pianists. Of his 230 or so compositions, the vast majority are for solo piano—etudes, nocturnes, waltzes, polonaises, preludes, and more. He also composed two piano concertos, some works for cello and piano, and a handful of beautiful songs. His approach to the piano changed how the instrument was written for—and how it was understood.

Georges Bizet

Best known for Carmen, Georges Bizet lived from 1838 to 1875 and died at just 36. While Carmen became his most iconic work, he also wrote other operas, orchestral music like the L’Arlésienne suites, and a fantastic Symphony in C Major, which he composed as a teenager. His output wasn’t vast, but it was remarkably high in quality.

Alexander Scriabin

Scriabin was the oldest composer on this list, living to 43. He was born in 1872 and died in 1915, but he certainly belongs in this group. With around 200 works—mostly piano and orchestral works—he was one of music’s great visionaries. He wrote ten piano sonatas, many preludes, etudes, and orchestral works. Scriabin was an early experimenter with multimedia, imagining music integrated with color and light. He even had ideas for a “smell organ”—an instrument designed to emit fragrances as part of a multi-sensory performance. His early music was evocative of Chopin with a Russian flair, but later works ventured into the world of atonality and mysticism.

George Gershwin

And finally, George Gershwin. Born in 1898 and gone by 1937, he lived only 38 years but gave us an unforgettable blend of classical music and jazz. With about 500 works—including Rhapsody in Blue, An American in Paris, the opera Porgy and Bess, and three delightful piano preludes as well as a piano concerto—Gershwin’s music helped define an era and continues to influence composers and musicians today.

Imagine If They Had Lived Longer…

It’s astonishing to think what these composers might have created had they lived even a decade or two longer. Mozart, for instance, was just starting to explore deeper, more complex musical ideas in his final years—ideas that Beethoven later developed even further. The same could be said for all of these composers. Their innovations and craftsmanship shaped the very course of music history.

If you’re thinking of other short-lived composers, certainly earlier figures like Giovanni Battista Pergolesi or Henry Purcell come to mind. But the focus here has been on some of the most popular and influential composers—those whose music continues to touch lives today. And now that you know how young they were, their accomplishments are all the more extraordinary. Share your thoughts in the comments here at LivingPianos.com and on YouTube.