Piano Lessons- Music Theory Lessons

When I was first asked this question I almost laughed; it seemed like such a simple question. Then when I started to think of the answer I realized it was much more complex than I initially thought; so here is the answer for you!

The most important reason is, if you had all white keys, it would simply be impossible to find your place on the keyboard – you would have to start at the bottom and count up all the keys to find a specific note! The black keys create a simple visual cue, a repeating pattern of groups of 2 black keys and 3 black keys which help you find your place on the keyboard.

However, keys aren’t simply laid out in order of black and white without meaning; there is a basic logic behind the layout which reflects the basis of major/minor tonality. When it comes to pitch, the distance between all adjacent keys on the piano– from black to white, white to black and where they occur, white to white – are all the same; they are all half-steps apart.

But what is the significance of the pattern of black keys relative to white keys? The white keys of the piano form a C major scale! It is a series of whole steps (2 keys together, one key between) and half steps (2 keys together, no keys between) in which they are all whole steps except between the 3rd and 4th notes (E and F), and the 7th and 8th notes (B and C). So when you play all the white keys from C to C you are playing a C major scale!

You can play in any key on the piano by utilizing specific black keys when playing in any key other than C major. This is reflected in key signatures, a topic for another video for you!

Believe it or not, this is a question that is dear to my heart. I don’t know if any of you have noticed but I actually have very small hands.

This was a problem for me as I was growing up and working on more advanced repertoire; I was learning music that required reaching an octave, yet my hands could barely reach – I was only able to achieve this by playing around the keys as opposed to directly above them.

If you are learning to play the piano and your hands are too small to reach an octave, you will be at a severe disadvantage. However, it’s not impossible. I work with Jake Clayton, a 10-year-old pianist who has trouble reaching an octave but you would never tell by the way he plays Mozart Concertos or Chopin; he manages just fine.

At this point, Jake’s hands will eventually get bigger; mine, on the other hand, are pretty much stuck where they are. Now I have no trouble reaching an octave but when I get into playing music with 10ths and 11ths it requires a bigger reach then I can manage. You probably wonder, do I have to leave out notes? Actually no.

It’s not overly difficult and anyone can learn how to achieve this. The secret is learning how to break chords very quickly using the pedal; The difference is almost imperceptible.

While there may be disadvantages to small hands, there is also a tremendous benefit to having small hands for playing the piano. Believe it or not, some people have such large fingers that they can’t get their fingers easily between the black keys; so they will have to play on the outside of the keyboard as opposed to the inside near the fallboard – presenting a big challenge.

The most important part of playing the piano is achieving the sound you imagine. With practice, you can play the piano with small hands.

Welcome back to my two-part series on how to play the Beethoven moonlight sonata. Today we will be addressing a question from Dong about the third movement:

I’m still working on the 3rd movement of the moonlight sonata. I can’t get the measures 7 and 8: the problem is that I can’t do the broken chords while moving up octaves each time fast/ precise enough… can you give me some advice on how I should practice that?

For your reference, here is the section Dong is referring to in his question:

This part of the piece is much different from the ethereal first movement; it comes on fast like a bat out hell!

When you slow this part of the piece down you’ll find that it’s simply a broken minor chord going up by octaves, and then moves on to a diminished chord in the same manner. It is actually not so difficult to play once it is broken down into its component parts.

The secret is hand positions and finger patterns.

As I’ve addressed in previous videos, being over the right keys with each hand position change can make any passage much easier to play and helps to develop confidence in your playing.

In this piece, you simply play to the fifth finger – the C# – and then switch your hand position by placing the thumb on the exact same note you started with (the C#) and play the same sequence again.

In your slow practice – which we’ve addressed in a previous video – you’ll want to play up to and not past the 2nd C# – the one in which you switch hand positions and play starting with the thumb. If you play this correctly, you will end up instantly over the next cord simply one octave higher.

The trick is to position your hand over the chord as soon as you play the second C# with your thumb.

Start by playing slowly and then consistently practice faster and faster until you can get up to speed. Try just starting up until the second C# and get that up to speed, then move on from there to the next chord position.

The good news is that this is not just a technique for this piece or this movement. This hand and finger technique is something you can use in all your music. Being aware of hand position and finger patterns can make any technical challenge very manageable.

Welcome the first in the two part series of how to play the Beethoven Moonlight Sonata. This lesson will cover how to control voicing in the famous 1st movement.

Learning to balance the hands is one of the most challenging aspects of learning to play the piano. It gets even harder when playing the Moonlight Sonata because you have two different parts in one hand and you want to play one part louder than the other – using only one hand. This is truly a challenge and will definitely take some practice to master.

I’m going to provide some techniques to help you practice this part of the Moonlight Sonata but this is intrinsic information when it comes to piano playing; you can use these techniques for all your music!

(If you are not familiar with the first movement of the Beethoven Moonlight Sonata, you should be able to get the score on line.)

In this particular part you have two parts with the right hand – triplets on the bottom and a slow melody on top. The difficulty is compounded because the longer melody notes fade out while the accompaniment triplets keep repeating and are therefore naturally louder; so how do you balance the two?

If you try and play some notes louder than others you might not be able to achieve this at first. You might wonder how you would ever be able to practice something like that. There is a great technique to remedy this!

Instead of just practicing louder and softer with the right hand, practice with two completely different articulations. Play the melody legato and play the accompaniment part staccato (from the fingers); this will give you control.

By practicing in this extreme manner it will help to identify the feel of the melody compared to the accompaniment. Practice playing the accompaniment very lightly and play with just a touch of the fingers, not the wrist.

When you do play the piece as written – with the legato triplets on the bottom – feel that you are reaching for the melody notes on top and you will be able to control the sound from the fingers.

It is very important in your initial practice to not use the pedal; so you can accomplish the independence of your fingers from one-another and hear the voices clearly. The pedal is literally the last thing you add.

This is a technique you can use in all your music to bring out melodies. I’m very interested to hear any input or advice you might have regarding this technique. Thanks again for watching.

You might have heard these terms used in describing used pianos. But exactly what is the difference between rebuilding a piano and simply reconditioning one? Is there a real distinction between the two? There definitely is.

Whether or not you will be looking at a rebuild or a reconditioning really depends upon the condition the piano is in. Generally, the distinction of rebuilding is when the cast iron plate of the piano is removed. Removing the plate is a very big deal – it requires an engine hoist; as the plate weighs more than the rest of the piano combined. When removing the plate, the strings, pins, and bolts are removed first. Then the plate is lifted out.

Rebuilding is necessary when the soundboard or pinblock are compromised. The reason for removing a plate is so important is that it allows the technician to get to the belly of the piano. The soundboard can be refinished; it can be shimmed if necessary, and when the plate is put back in it can be placed precisely for ideal down bearing – the tension the strings exert on the bridge. You also have the option to rebuild the plate to make it look like new. Really, removing the plate allows you to rework the inside of the piano giving new life to a piano with problems.

Another good reason to rebuild a piano is if the pinblock needs to be replaced. If the piano has been restrung a number of times it is important to replace the pinblock because larger pins are used every time you restring a piano and you reach a practical limit in pin size. Also, the pinblock can sometimes develop cracks which effects tuning stability.

If the soundboard and pinblock are in good shape, there is no benefit in rebuilding the piano. In fact, you can restring the piano, rework the bridges, and even rebuild the action, refinish the cabinet and re-bush the pedals all without technically rebuilding the piano. However, such a piano might be just as solid and potentially long-lasting as a rebuilt piano. It all depends upon what each instrument needs in order to play at a high level for years to come.

You may have heard this term before, but you might not know what it means. It is a very important thing to understand when you are looking at pianos.

Perhaps you have visited a piano store and seen lots of American names on pianos but few – if any – are what they appear to be. Many of them are undoubtedly stencil pianos.

The business of stencil pianos goes way back. In fact, many of the leading piano companies used to have second lines of pianos called OEM pianos (Original Equipment Manufacturer) that they sold to piano stores. The stores would then put their own brand names on the pianos.

Today, stencil pianos have become a huge part of the piano industry. With only 2 major piano manufacturers left in the United States (Steinway and Mason & Hamlin) and 1 smaller company (Charles Walther), there are only about 2,000 pianos manufactured in the United States every year.

However, if you walk into a store you will probably see dozens of American piano manufacturer names on the pianos. These are almost all stencil pianos and they are mostly produced in China and Indonesia (and some in Korea). The pianos are bought from the manufacturer and a familiar name is put on the piano in order to make customers more comfortable.

For example, You might see the Baldwin name on a new piano in a store. However, when Gibson bought the Baldwin piano company a few years ago, they shut down the American piano plant. They then bought the Dongbei Piano factory in China. Ever since they have been importing these pianos from China and putting the Baldwin name on the front of them. So for about 1/5 of the cost of an actual American made Baldwin piano you can own a new Chinese “Baldwin” which looks pretty much the same.

However, even though the pianos might look the same, they are far from the same piano. These pianos manufactured in China and Indonesia are good choices if the piano is mostly for furniture or for the casual player. But they won’t hold up well with rigorous use and would rarely get passed down from generation to generation.

Many piano dealers will use certain techniques to market these stencil pianos and make them seem like there is something special about them. For example, Steinway has done an excellent job of marketing their stencil piano brands – Essex and Boston. Essex is a Chinese piano made by Pearl River and Boston is an OEM piano sold to Steinway but produced by Kawai. The Steinway piano name is so popular and well respected that people will pay thousands of dollars more to buy something with the Steinway name somewhere inside it as opposed to just buying the piano directly from the original manufacturer.

Keep in mind, many experts recommend buying an original manufacturer piano as opposed to a stencil or OEM piano. There are two main reasons for this: one, no manufacturer would ever sell a better product to a competitor than they sell themselves; two, when it comes to stencil pianos there is always a middleman, so you will be paying more than simply purchasing the piano from the original manufacturer.

Why are scales and arpeggios so important? Since the vast majority of Western music is based upon major/minor tonality, having a mastery of scales and arpeggios is like knowing your addition, subtraction, multiplication and division tables in order to do the math. Also, it provides an opportunity to focus purely on finger technique. It is an extraction of just that element of playing without the complexity of harmony, rhythm, phrasing, and expression. Scales and arpeggios also provide an excellent warm-up for your practice.

What are scales and arpeggios? Scales are a series of 8 whole steps and half steps (and augmented seconds found in harmonic minor scales) in which the first and last notes are the same. Arpeggios are broken chords. Generally, scales and arpeggios are practiced throughout a wide range of an instrument repeating the pattern from octave to octave both ascending and descending.

We are currently looking for a piano for our church service use. We don’t have very high budget so we are currently looking at used pianos. We have come across the following model and it would be great if Bob could provide expert advice on which one is the better one:

– Yamaha MC10A
– Weinbach serial number 149862

Thank you Bob

Both Yamaha and Weinbach make good quality instruments. From the serial number, you can determine that the Weinbach was manufactured in the Czech Republic before it was acquired by Petrof. Since you don’t have the model number of the Weinbach, I will assume these are both similar style upright pianos. In that case, the better piano is the one that is in better condition. There are many factors that come into play.

You can determine how much use the pianos have had by looking at the grooves on the hammers. Deeper grooves mean the piano has had more use. The hammers also may have been filed. Look at how much felt is left particularly on the highest notes of the piano. Also, you can wiggle the keys back and forth. If there is a lot of play or worse yet clicking sounds, this indicates that the piano has been played substantially.

Another important factor is the environment the piano has been subjected to. An extremely dry or humid environment can damage a piano. Definitely look on the back of the piano at the soundboard for detached ribs, warping, or open cracks. (Tight, hairline cracks are not a concern.) Look for rust or corrosion on the strings. Yellowing of felt parts (hammers and dampers) also indicates parts that are more weather-worn.

It is a mistake buying a piano you think will be fundamentally different after it has been serviced. Unless you have vast experience with pianos, you would be taking a tremendous risk. Ultimately, how the piano sounds and feels is paramount since this is probably what is most important to you.

When a piano is in tune such as the glorious instrument in the accompanying video, you hear the beautiful tone, and you may wonder when to get your piano tuned. How do you know when it’s time to get your piano tuned. It’s not as easy a thing as you might think. So I’m going to liken it to a couple of different things. If any of you play guitar, you know that every time you take it out, you tune it up. In a perfect world, you would do the same thing with your piano! Since there are over 200 strings to tune, it’s not practical.

So there are certain guidelines much like with your car when you get the oil changed, you have an odometer reading, but there’s also a date. So even if you don’t drive your car, it’s still recommended you change the oil periodically. The same thing is true for your piano. Your piano might sound fine to you, but maybe it’s been a year or two since it’s been tuned. It’s very important to get it tuned because the whole piano could shift up or down and might sound good within itself but the instrument will not be able to hold the tuning without several more tunings to get the pitch stable again.

The Piano Technicians’ Guild recommends a piano ideally should be tuned about four times a year, a minimum of twice. Why is that? It’s very simple: the change of seasons affects the tuning of your piano. Even if you don’t play your piano, it’s got to be tuned a minimum of a couple of times a year and in most climates four times a year is close to ideal. If you play the piano a great deal, every time you play, it goes out a little bit – especially if you’re a strong player and practice a great deal. You might even consider monthly tunings of your piano. You might think this gets very expensive. But in the long run, like changing the oil in your car, the more you tune your piano, the better you preserve the instrument and the more stable the tuning becomes.