Piano Lessons- Music Theory Lessons

You might not have heard of the band-aid approach to practicing music and that’s OK. It is an effective practice technique I came up with years ago and continue utilizing. It increases effectiveness to practicing and I share it with all my students.

When it comes to practicing, I strive for efficiency. I want to get as much done as I possibly can within the time I have. I wish I could practice all day long but my schedule rarely permits it – instead I have to find times to practice and make sure that I get as much benefit from it as I can in the time that I have.

There are many practice techniques available and there are dozens of problems musicians face in their playing and development. This technique is really designed to help you zero in on a specific problem you are having. As a musician, you will encounter specific problems in some areas of your music. This is where you will want to focus most of your energy.

So how do you use this technique? Start with a piece of music and play it through until you have a problem. Let’s say you missed a note. Now instead of starting from the begging of the piece and playing it over again, jump to right where the problem is. Keep working on your trouble section until you iron out the correction. Play it many times over and over again until you can play it effortlessly. Then go a measure or two before your trouble phrase and play it from there many times until it comes together nicely. Then, play the entire section or piece again. Basically, you are putting a bandage on the problem area and making sure it sticks!

This question comes from a viewer (Jay) who asks about deciphering different music symbols. If you’ve read a lot of music then you know there are a ton of symbols and there will undoubtedly be some you are not familiar with.

I have several videos based on the subject of where to put your piano. But now I’m going to address specifically putting a piano in a basement. The issue is about the extremes of temperature and humidity the piano may be subjected to. This is a concern with pianos going anywhere. Pianos thrive in a stable environment of around 45-50% humidity. Minimal changes of temperature or humidity are ideal. It’s best to treat the room. Basements provide special challenges. The good news is that basements can be somewhat stable in terms of temperature because of the geothermal effect.

However, many basements can be extremely moist, and if you have any issues whatsoever with basements ever becoming wet, I would not put a piano down there under any circumstances. If it’s impossible to treat the room with dehumidifiers and possibly even humidifiers, the next best thing is a Damp-Chaser system which sits under the piano or behind the piano on uprights. They provide stability by either heating up rods to take out humidity or even adding humidity from a water tank. This is a possible solution if treating the room is not practical.

To recap, the ideal environment is to put the piano in a room that is stable in regards to temperature and humidity. If you’re in a room that is not particularly stable, try to treat the room. And lastly, if you can’t do either of those, at least get a Damp-Chaser System. Once again, I hope this has been helpful and thank you for joining us! Robert Estrin at LivingPianos.com

The Sonata is one of the most enduring musical forms of all time. I am not talking about the single movement Baroque sonatas of a composer like Scarlatti, but the Classical era form of Mozart, Haydn and later with Beethoven and still later the great Romantic composers like Schumann, Brahms and beyond. So what is so special about this form?

First, the sonata is a multi-movement work. I am discussing the form commonly referred to as Sonata-Allegro form which is usually the first movement of a sonata which is generally fast (Allegro). This form is not only pervasive in sonatas, but in symphonies, concertos, string quartets, piano trios, and many other musical compositions. So, what is it?

In its simplest description, it is kind of an A – B – A form, in which music is presented, new material is offered, and the original music returns. But that isn’t quite accurate. It’s more of an A – B – C form with some added structure. Here is, in a nutshell, the Sonata form:

A. Exposition

– Theme 1. in the tonic key (the key of the piece)

– Theme 2. in the dominant key (the key starting on the 5th note of the key of the piece).

– The Exposition Repeats-

B. Development: This is a free development of both themes

C. Recapitulation

– Theme 1. in the tonic key (the key of the piece)

– Theme 2. in the tonic key (so the movement ends in the key it started in!)

It is remarkable how many pieces of music adhere to this form to one extent or another. It’s not as if there was some book, “How to Write a Sonata” that everyone read! It’s just that this structure is incredibly enduring for musical exploration. It is actually the exceptions to these rules that make pieces stand out! In fact the example of the famous C major Sonata of Mozart K.545 that I utilize doesn’t follow the rules quite right. It doesn’t have the first theme in the recapitulation! It does have a statement of the first theme in the sub-dominant (the 4th note of the major key) at the end of the development and the recapitulation starts right in with the 2nd subject (second theme).

There are so many great compositions that are structured this way that you will be astounded once you start analyzing pieces you know.

People often ask me what the difference is between New York and Hamburg made Steinway pianos. Researching this online may offer some perspective but really the choice between the two may be more a matter of personal preference than anything else. That being said, there are some key differences between the two manufacturers of Steinway pianos that may interest you.

The history of the Steinway family is pretty fascinating and for a detailed description, I would suggest viewing their official story on their website. The family was actually a group of German immigrants who came to New York. They began piano manufacturing in New York and later opened a factory in Hamburg, Germany. Both of these factories have been producing pianos for over a hundred years.

Overall, the pianos coming out of each factory are incredibly similar. Both factories produce nearly all the same models today; which is not something they have always done. For most of the 20th century, New York Steinway was producing the model L while Hamburg was producing the model O. Both of the pianos are the same size, 5-foot 10 1/2-inches, but they have different scale designs. Earlier in the 20th century, New York Steinway was also producing Model O’s but they then switched to the L. Recently the L model was discontinued and now they only produce the Model O in both factories. Recently New York Steinway started producing the model A (6-foot 2-inch) which was only built in Germany, however, it was built in New York early in the 20th century. (There was also a model termed the “stretch A” which measured 6-foot 4-inches.) The model C (7’ 6” in size) is only built in Hamburg Germany even today.

One of the biggest difference between the two different factories is the actions. New York makes their own actions while Hamburg utilizes Renner (an esteemed German action manufacturer). The New York Steinways have unique design elements only available on the Steinway made actions including the Accelerated Action.

Another difference between the two factories is that Hamburg Steinway’s tend to have slightly thicker soundboards than their New York counterparts. This means that the Hamburg Steinway’s are a little bit more subdued and it takes a bit more effort to get a larger sound out of them (depending upon voicing).

Ultimately the difference between New York and Hamburg Steinways comes down to the individual piano.

Some people appreciate the higher degree of refinement of German Steinways direct from the factory. However, with the proper preparation, these differences may not be so great. This means that American Steinway technicians play a very important role in each dealer getting the pianos to play on the highest possible level.

I hope this sheds some light on the similarities and differences between New York and Hamburg Steinway pianos.

As musicians, we practice and perform as a part of our daily routine. Just like any other professional, we have our tools of the trade that we must keep intact. For me it’s my hands – I couldn’t imagine hurting my hands and being unable to play the piano. Now accidents can happen and there is no way to protect yourself 100% of the time but there are some great tips for every musician in order to prevent injury while playing your instrument.

Think holistically:

Staying healthy is paramount to everything else. Every morning I do Yoga to loosen up. I try to eat right as well as take walks and exercise when I can to keep myself in good shape. This goes a long way toward preventing injury while playing your instrument – being out of shape can lead to more frequent injuries.

Many instruments are different but the same principles remain for all of them. As a violinist you have to hold your instrument in an awkward position – the same goes for flutists and other wind instruments. Having to hold an instrument for long periods of time can really take a toll on you. This is why posture is so important. As you know, I play the piano, so posture is a bit different, but it still matters in holding a position for long periods of time without causing injury. You’ll want to make sure that the bench is the appropriate height – your arms should reach out in a straight line and touch the keys. Your hands should rest comfortably between the white and black keys and you will want to make sure you are sitting in a position where you won’t have to reach in an uncomfortable position to play keys further away from you. You must be able to move about freely. Every instrument is different but learning your optimal posture is essential on your instrument.

The most important thing you can do is be comfortable. Don’t sit in any position that will cause a strain and don’t force yourself to sit or stand in a way that is uncomfortable for you. If you are playing a solo recital make sure to adjust your seat and get comfortable before playing. What seems like an eternity to you will be nothing more than a few seconds to the audience. It’s perfectly fine to take your time before playing a performance – both you and your audience will appreciate the extra time you take to prepare yourself!

Another thing that is essential in the life of a musician is to take frequent breaks. This means getting up and walking around, stretching, doing whatever you need to do to get back into a comfortable atmosphere. Don’t overdo it with practicing, sometimes the best thing you can do is to walk away for a few minutes and rejuvenate.

It’s also a good idea to vary your repertoire as well as your practice technique. For example, if you’ve been working on scales for a while do something completely different like sight-reading or memorization. This will help to prevent fatigue and will keep your mind and body fresh and moving all the time.

The short answer is you can start music lessons at any age and have some degree of success. Being able to master an instrument is really a lifelong pursuit but being able to play at some level of proficiency is something anyone can do at any age.

If you had never been exposed to classical music in your life and you decided that in your 20s or 30s you wanted to become a concert violinist, you would have an incredibly tough road ahead of you. The coordination required; the understanding of musical language; there are many reasons why this would be extremely difficult. This is not to say that mastering an instrument later in life is impossible though. Many musicians have learned instruments later on in life and had a huge degree of success. But how is this possible?

Being exposed to music from a young age is incredibly important for success in music. It can increase the development of your brain for music and it can provide you with an understanding of the musical language. For example, if you already know how to play one instrument, it will be much easier to learn a second instrument. This is because you already have an understanding of the musical language.

There are some instruments that are best to learn at a young age – specifically string instruments and the piano – but it’s not impossible to learn them at any age. If you start later in life you really should have realistic expectations. No matter how much I may want to be a professional basketball player, at my age it is virtually impossible.

It’s important not to get hung up on what level you can eventually achieve on an instrument. If you want to learn an instrument at any age, it’s a great idea as long as it’s enjoyable for you. Musical development is something you can enjoy for the rest of your life no matter what your age or level!