Piano Lessons- Music Theory Lessons

I have received many questions about whether or not playing other instruments or different styles of music can negatively affect your piano playing. Many people have asked whether playing jazz will hurt your Classical music skills. Many people want to know how playing the guitar impacts your piano playing. So here are some points worth considering.

It is my personal feeling that the more you assimilate musically, the richer musical experience you will have to offer. I majored in both piano and French horn in a music conservatory. I always felt that the breakthroughs I had with one instrument always seemed to translate to epiphanies for the other instrument!

Guitar and piano are very different instruments. They do share the ability (that few instruments have) to play many notes at the same time (playing polyphonically). The piano offers a very easy way to understand the basics of music theory because of the half-step arrangement of the keys. Guitar has frets which are half-steps apart, but the strings are tuned at different intervals from one another which isn’t as intuitive as the piano. So, the piano can be beneficial to understanding music theory which can help your guitar playing. Does this work the other way around though? Can playing the guitar help the development of your piano playing?

One aspect you can draw on immediately is the ability of the guitar to alter the tone of held notes while the piano has limited ability in this regard (with the exception of the pedals). For example, you can bend notes on the guitar and create different tones and expressiveness very easily. On the piano, without the use of the pedals, the notes you play will always produce the same basic tone. The thing you can impart to your piano playing is the ability to think about creating expression and tonal differences like you can with the guitar even with a more limited toolset. With practice and proper techniques, you can begin to create new and interesting sounds in your music much like you can working with the strings on the guitar.

You will also find that certain chord voicings are more easily accomplished on one instrument or another, opening avenues of creativity when exploring the same music on both instruments.

But does playing guitar hurt your piano playing in any way? Absolutely not! Play what you want and expand your horizons however you can. Learning new music and instruments will only enrich your musical experience. I would love to hear your opinions on this subject. Please feel free to email me directly with your comments or questions, Robert@LivingPianos.com

Does Playing Guitar Hurt Your Piano Playing?

I have received many questions about whether or not playing other instruments or different styles of music can negatively affect your piano playing. Many people have asked whether playing jazz will hurt your Classical music skills. Many people want t

Debussy’s “The Little Shepherd” from his Children’s Corner Suite is one of my favorite pieces. It is simple but very poetic. This question comes from a viewer who wants to know the best way to use the pedal in this piece.

The challenge of the piano is that it doesn’t have the expressiveness on a single note that other instruments have. Or does it? Achieving expressiveness on single notes on the piano is certainly possible if you use the pedals correctly. In this article I’m going to share some secrets on how to achieve this.

The way that a pedal effects the note all depends on when you depress it.

If you depress the pedal before you play the note you will get an echoey sound with a boominess after the initial attack.

If you are striving for a more sustained tone you will want to depress the pedal after the initial attack. This will create a more linear sound which is rounder than pedaling before playing the note as described above.

You can complement this effect with the use of the una corda pedal (soft pedal) which offers a more sustained sound since only 2 of 3 strings are initially hit directly making the attach quieter.

The effects really are subtle and might be hard to hear over your computer unless you have good speakers or headphones. But it truly makes the difference in bringing expressiveness to the music. Try these techniques on your piano and let us know the differences you notice.

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

How to Use the Pedal in Debussy’s “The Little Shepherd”

Debussy’s “The Little Shepherd” from his Children’s Corner Suite is one of my favorite pieces. It is simple but very poetic. This question comes from a viewer who wants to know the best way to use the pedal in this piece. The challenge of the

The metronome is much maligned by many musicians for its incessant ticking which can be like a form of Chinese water torture! Many teachers are insistent upon using the metronome and students have questioned whether or not they need this ticking box.

The metronome really is one of the two most important tools at your disposal (the other being an audio recorder) and you should be practicing with it regularly – whatever your skill level. Today we are going to discuss three reasons why the metronome is so important as well as some great applications on how to use it.

The first reason why you need the metronome is that nobody has a perfect clock in their brain. When you start to learn a piece of music and you encounter tough sections, you will naturally slow down a bit to compensate for the difficulty. You might think that once you work them out and get things up to speed, there should be no problem. But you may overcompensate and actually play these sections even faster! The only way to be sure is to play with the metronome.

Don’t make the mistake my mother used to make by putting the metronome too fast and trying to keep up with it. She would drive herself crazy with frustration trying to match an impossibly fast speed of the metronome. Find a speed you are comfortable with and work your way up to an appropriate tempo.

The second reason you want to use a metronome is that it provides an essential practice tool for difficult sections of music. Start by playing at a slow speed accurately with comfort. Then, incrementally increase the speed notch by notch gaining confidence at each new tempo until you get the passage mastered up to tempo. This is an indispensable tool for developing a refined technique on your instrument.

The key is to use this technique by zeroing in on specific sections of your music – not the whole piece. It will not take as much time as you think and you will master tough sections of your music much more quickly.

The third reason you want to use a metronome is because it will help you improve as a musician. The pulse is one of the most important aspects of music and developing a consistent beat will make you a better musician. This aids in playing with other musicians with a tight ensemble.

These are three great reasons to use the metronome and I’m sure many of you have more suggestions as well. Please leave us some comments or email me directly Robert@LivingPianos.com

3 Reasons You Should Use a Metronome When You Practice Music

The metronome is much maligned by many musicians for its incessant ticking which can be like a form of Chinese water torture! Many teachers are insistent upon using the metronome and students have questioned whether or not they need this ticking box.

We have covered the Hanon exercises in the past: Hanon First Exercises, Scales and Arpeggios, and Tips for Practicing Hanon. Today we are going to cover something that was not covered in those subsequent videos – practicing Hanon in different keys.

This is a question from one of our viewers. Matt asks, “Is it good to practice Hanon in different keys?”. In Hanon, the first 20 exercises are all in C major and have repeated patterns. It is good to utilize these exercises as a way to build strength – especially for beginning players. Once you can play through them, you are ready to move on to scales and arpeggios.

But what about the idea of practicing these exercises in different keys? I would say that after you have progressed through the exercises as written in C major and moved on to scales and arpeggios, there could be value in revisiting the initial Hanon exercises and play them in different keys.

It’s a beneficial exercise because you will have new hand positions which will help to build strength and comfort negotiating different keys. You will also have to challenge yourself figuring out the notes to play in different keys. While not essential, it could be worth pursuing.

My father Morton Estrin once suggested a radical practice routine to me which is to practice all the major scales using the C major scale fingering! For example, you could play a D flat major scale utilizing the C major scale fingering. It feels very unnatural and it would seem to be crazy to even attempt this. After all, you would never play the D flat major scale with C major scale fingering. So, why even attempt it?

This exercise is extremely beneficial because it allows you to experience a level of discomfort that you will eventually run into when you approach counterpoint and complex fugues. While you play these pieces you will run into sections where you must use some very awkward fingering to negotiate the notes. By challenging and preparing yourself for these eventual passages you will be able to approach them more easily.

Thanks again for joining us. If you have any questions please contact me Robert@LivingPianos.com (949) 244-3729.

Should You Practice Hanon in Different Keys?

We have covered the Hanon exercises in the past: Hanon First Exercises, Scales and Arpeggios, and Tips for Practicing Hanon. Today we are going to cover something that was not covered in those subsequent videos – practicing Hanon in different k

This is a very common question. Many times when people want to sell a piano that has been in the family for a long time, they don’t know where to start. When we receive calls from from people in these types of situations, we always ask them the last time the piano was tuned.

The reason we ask this is because pianos need very regular maintenance. The longer they go without tuning or other work, the more problems they might incur. It’s certainly possible that if a piano sits in the right climate for a long period of time and remains untouched it could need very little work, particularly if has been tuned on a regular basis. For a piano that has been in a home where the temperature and humidity have affected it over the years and the owner neglected to tune it on a regular basis, it can sometimes put undue stress on the instrument trying to get it stable again.

Sometimes pianos can’t be tuned. No matter how many times you try and tune them they will continue to go out of tune or simply can’t be tuned at all. Many times this means the piano has to be rebuilt because there is most likely an issue with the pin block which can’t hold the tuning pins tightly. The pinblock is a multi-laminate piece of hardwood custom shaped to the plate of each piano that sits right below the plate.

In order to replace the pinblock you have to remove the strings and pins and then use a crane to lift the plate out of the piano. Then a custom pinblock must be made for the specific piano – which is a very skilled job. This involves substantial expense and not something you will want to embark upon with just any piano. Rebuilding costs thousands of dollars and is only worthwhile on worthy instruments.

So what do you do with a piano that has loose tuning pins and isn’t worth the rebuilding costs? Luckily there are a few things you can try to see if you can salvage some more life out of the piano. The simplest solution is to tap in the pins a bit further into the pinblock to get more friction. There must be some room between the coils of the strings and the pinblock to allow for tapping. This can sometimes alleviate tuning problems. Other times it can only be a temporary fix depending upon the integrity of the pinblock. This is something that can only be done by an experienced piano technician or irreparable damage can be inflicted upon the piano.

If that doesn’t work you can have the piano restrung with fatter tuning pins. Every time you restring a piano you have to put a little bit larger tuning pins into the pinblock in order to get them to stay securely in place. If the pinblock is in good shape, this can solve the problem in some instances. This is a bit more expensive than tapping the pins down but less costly than rebuilding. If the pinblock has cracks, using larger pins will just enlarge the cracks. Also, there is a limit to how large a tuning pin can be used in a piano.
As a last resort I have heard of people trying super glue in the pins! This isn’t to lock them in place, but to add friction to the tuning pins. I would not recommend this unless you have absolutely nothing to lose because the piano is not worth rebuilding.

Something to keep in mind is that if you have a piano in a humid environment that has pins that are slightly loose, moving the piano to a desert climate can make the pins looser and you may have serious tuning problems.

So depending on your situation there are a number of options for a piano that can’t be tuned. If you have a piano that is valuable like a Steinway, Mason & Hamlin, Bechstein or other high-end piano, then it might be worth rebuilding if other structures of the piano are sound. With low end pianos that can’t hold tuning, you may be better off seeking out another piano.

I hope this has been helpful for you. Thanks again for joining me Robert@LivingPianos.com (949) 244-3729

What can you do with a Piano that Can’t be Tuned?

This is a very common question. Many times when people want to sell a piano that has been in the family for a long time, they don’t know where to start. When we receive calls from from people in these types of situations, we always ask them the las

This is a very broad subject you could devote at least an entire semester to. Books have been written on the subject! The point of this article is not to suggest that one composer is better than the other, but rather to compare the differences in their music.

One important fact is that Beethoven came after Mozart. This means that the foundation of his music was built upon the music of Mozart and composers before him.

Both composers used the Sonata Allegro form which was widely employed during the Classical period. I have a separate video that explains the Sonata form if you are interested in a more in-depth explanation.

In the video, I use the Mozart Sonata K330 in C-major and the Beethoven Sonata Opus 14 Number 2 in G major. I’m picking an earlier work of Beethoven to highlight the differences between the two composers. Although Beethoven’s later work strayed even further from Mozart. Still, this earlier work is a great choice to highlight both the similarities and the differences.

You will notice right away that even though these composers were working within the same sonata form, the music is very different. They each have their own distinct personalities and this comes through very prominently in their music.

The first thing that comes to mind with the K330 is the roundness of the phrasing and the perfection of the structure. If you changed even one note the piece would sound completely off.

Beethoven has a much more fiery personality. Whereas Mozart’s music is clean and precise, Beethoven employs many surprises in his music. Many times he will build up the music as if it’s leading to something only to suddenly get soft – his trademark use of subito piano. This is a common theme in his music and keeps the listener engaged in the music.

In Beethoven’s later sonatas, he developed the form further as the technology of the piano improved. The development sections are massive and even in his earlier sonatas, they would go much further than in a Mozart sonata. This is just one of many differences between these two iconic composers.

We will be bringing you another part in this series very soon where we will discuss more similarities and differences between Beethoven and Mozart.

If you have any questions or observations please send them to me Robert@LivingPianos.com (949) 244-3729 Thank you!

The Difference Between Mozart and Beethoven – Mozart Vs. Beethoven

This is a very broad subject you could devote at least an entire semester to. Books have been written on the subject! The point of this article is not to suggest that one composer is better than the other, but rather to compare the differences in the

This is a very common question I get all the time. Pianos are very temperamental instruments and they need to be cared for fairly well in order to have a long life. That’s why it’s not surprising that popular wisdom has everyone thinking that as soon as you move a piano it has to be tuned. But is this really the case?

Keeping a piano in tune is a constant challenge. As I’ve stated in another video, there is actually no such thing as a perfectly tuned piano, it’s a fruitless pursuit. So does moving it really affect the tuning in a negative way?

The first thing you have to take into account is whether you are moving a piano across a room or to an entirely new location and environment. If you’re moving a piano across the room by pushing it you probably won’t need to tune it right away. We move pianos around our store every day and it doesn’t make them go out of tune. But what about if you are moving a piano with professional movers?

If you’ve never witnessed a professional piano move it’s quite a complicated process. It often requires 3 people or more, putting a piano on end on a grand board, loading it onto a truck, wrapping in blankets and securing it to the wall of the vehicle. If you have to move a piano from one location to another there is really no way of getting around it; you’ll need a professional piano mover. Risking injury to yourself or the piano is not worth saving the cost of a piano move.

But what about when the piano arrives at its new location? Will it automatically be out of tune? – not right away. The move is not what will make a piano go out of tune; it’s the new environment which will affect the instrument’s tuning. Today many piano trucks are climate controlled to help keep the stability of the instruments inside. Pianos used to be moved by horse and buggy and even this wouldn’t necessarily knock the piano out of tune. A long-term change in temperature or humidity is what will gradually make a piano go out of tune. Sometimes the piano can drop or raise in pitch and you might not even realize it. The most important thing for a piano is stability and if it drops in pitch it may take several tunings before it can become stable again.

So yes, if you are moving a piano from one location to another – no matter if it’s right down the street or across the country, it will eventually need to be tuned. However, you may not have to call your tuner right away. If there are no issues, you may let the piano sit and acclimate to its new environment for a few weeks before you get your first tuning. Tuning the piano sooner won’t harm it, but you will probably have to tune it again once the piano settles into its new location.

If you have any more questions about pianos or moving pianos please feel free to contact me. Thanks again for joining us, I’m Robert Estrin Robert@LivingPianos.com (949) 244-3729

Does Moving a Piano Make it Go Out of Tune?

This is a very common question I get all the time. Pianos are very temperamental instruments and they need to be cared for fairly well in order to have a long life. That’s why it’s not surprising that popular wisdom has everyone thinking that as

Welcome back to our ongoing series on How to Play Bach’s Fifth French Suite. In our first part we covered the Allemande section, Last time we covered the Courante, Today we will be exploring the lyrical Sarabande Movement.

Even though this movement is very different from the first two that precede it, the same principles apply; which is to delineate the melodies from one-another with phrasing.

There are some differences between the first two movements that I would like to point out. In those movements, I employed a clipped staccato accentuating the detachment between notes. This achieves clear delineation of the musical lines. In this movement, you will want to approach the staccatos a bit differently.

It’s a common misconception that staccato means short. It actually means “detached” and there are different techniques you can employ depending on the piece. For more information on playing staccato please check out our previous video on the subject.

In fast movements, you will want to play staccato notes short, but in a more lyrical and slow movement, you can play them detached but with more length so the notes don’t have a clipped sound which can diminish the lyricism. By performing the eighth notes detached but not short you can produce a subtle delineation of voices without the harsh tone that short staccato notes produce.

There isn’t a right or wrong way to approach the phrasing of this movement. However, I like to give the eighth notes a clean and nuanced detachment rather than the sudden shortness that works so well in the faster first two movements. However, you will want to avoid having the musical lines blend with each other which would be more appropriate in late 19th-century Romantic period music. One of the defining aspects of the Baroque era of music is the delineation of counterpoint – hearing the distinctness of each musical line.

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

Piano Lessons: How to Play Bach’s French Suites – Part 3 (Sarabande)

Welcome back to our ongoing series on How to Play Bach’s Fifth French Suite. In our first part we covered the Allemande section, Last time we covered the Courante, Today we will be exploring the lyrical Sarabande Movement. Even though this movement

This is a great question and one that is becoming more and more relevant every day. Many of us simply search Google or YouTube to solve everyday problems; so why not do the same for piano lessons? Now it might seem like I have a vested interest in this subject, yet, you may be surprised at my perspective.

Someone came into the store recently and they were playing all sorts of repertoire – some of it extremely advanced. To my surprise, he had never taken any formal piano lessons; he couldn’t even read music at all. He had learned to play some complex pieces by simply watching his player piano at home and copying how it played!

I have also met people who have learned to play piano repertoire in a very similar way watching YouTube videos of people playing. They watch some videos where the player will film the keys as they play an entire piece. Some determined viewers will watch videos and simply copy what they see on the screen bit by bit. Surprisingly, this system can work. But is it really a substitute for piano lessons?

While this type of learning can help you learn a piece, it’s only one component in learning to play the piano. There is really no substitute for a great teacher and the wisdom they can impart. Learning to play the piano is a lot more than simply copying which keys are pushed down. More than that, being able to read and comprehend music can offer much greater efficiency in fully digesting a piece since you can access specific parts of the piece instantly instead of having to watch through sections finding what you need.

Even with private lessons, you won’t become a fine pianist by just taking lessons. You will need to practice, to listen to music, to see live performances, to live and breath it. It has to be an integral part of your life.

So can you learn to play the piano on Youtube? That’s really open to debate but you can certainly learn a lot by watching videos and practicing along with them. If you use YouTube videos in conjunction with other resources, you will benefit greatly.

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

Can You Learn to Play Piano from YouTube?

This is a great question and one that is becoming more and more relevant every day. Many of us simply search Google or YouTube to solve everyday problems; so why not do the same for piano lessons? Now it might seem like I have a vested interest in th