Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to play expressively on the piano. Sometimes you hear musical artists, and it gives you chills listening to them play. What is the secret? How are they able to evoke that kind of emotion in their playing? Playing expressively is the key!

There are many aspects to expressive playing.

One aspect is just the sheer sound that somebody gets out of their instrument. On the piano, you might not think there would be such a connection. Obviously, a singer has their own quality of voice based on their physiology. On wind instruments, you can also identify a player just by the sound they get. Certainly, if you’re a clarinet player, you can discern the sounds of your favorite clarinet players. The same thing is true for the piano. There’s a distinctive sound that different pianists get. The way they approach the keys, the balance of the hands, which notes and lines are brought out – all of these factors enter into the equation.

Today we’re going to talk in depth about three fundamental aspects of expressive piano playing:
Dynamics – Phrasing & Rubato.

We’re going to start with dynamics. Dynamics, in a nutshell, are the louds and the softs in your piano playing. The origin of the piano, going back to around the year 1700, was from a harpsichord builder by the name of Bartolomeo Cristofori. He built a harpsichord that could play soft and loud called a pianoforte. It was the first keyboard instrument that could play with a wide dynamic range due to its hammers striking strings and, most importantly, escaping those strings after striking them. That is what planted the seeds for the evolution of the piano as we know it today.

How do you achieve dynamic contrast on the piano?

There are many different ways to achieve dynamic contrast in your playing. For example, in the beginning of Beethoven’s Sonata in C minor, Op. 10, No. 1, Beethoven explores dynamic contrast in a big way. He uses an amazing amount of dynamic contrast right in the opening bars. You can hear tremendous delineation of fortes and pianos, rapid fire from one to the next. That’s one type of dynamics in piano playing. But there are more subtle uses of dynamics as well. Think about the Chopin B minor prelude, for example, and the gorgeous lines that are created with the slow rising and falling of dynamics. That prelude also demonstrates the use of bringing out different lines. The melody starts in the left hand, transitions to the right hand, and then goes back to the left hand. That’s the choice of the performer, bringing the attention of the listener to different lines within the music. Dynamics can be very well delineated, almost to a shocking extent, like in Beethoven, or they can be more lyrical with rising, falling, and intertwining of lines, and the beautiful sound that you can create by using arm weight instead of just letting your fingers percussively play each key. Arm weight is the key to getting a sense of a singing line with a beautiful tone.

Let’s move on to phrasing and its importance in musical interpretation.

There are two aspects to phrasing. One is the way in which notes are connected or detached through staccatos, slurs, and accents. But a phrase is also like a musical sentence. Just like when you speak, the intonation goes up in the middle of the sentence and comes down at the end. That’s kind of like what a phrase is in music, not to be confused with phrasing, which, as I said, is the way in which notes are connected or detached. A simple Bach minuet would sound lifeless without the delineation of the phrasing. Delineating the phrasing makes a huge difference in the sound of music and the expressiveness that is brought to it. Phrasing encompasses how you articulate the architecture of a phrase of music. For example, in the beginning of the second movement of the Beethoven Piano Sonata Op. 10 No. 3, you can hear the rise and fall of the musical line, which is written with slurs. You want to create that line with a rise and fall in the melody. Even though it’s all written with just long slurs, there is a rise and fall to delineate the phrases. The slurs indicate the phrases, so it’s not just a series of random notes. There is an architecture that makes it expressive. You can hear how expressive the music is when you make it clear where the phrases start and end, and let them grow in the middle. It’s just like the way a singer takes a deep breath, and towards the middle of the phrase, allows more energy and beauty to emerge from the music.

Rubato is another incredibly expressive device.

Rubato isn’t really found until 19th-century music; therefore, it’s not a factor in the music of Bach or even Mozart. Rubato is a slight speeding up and slowing down of a phrase without gaining or losing time. This works magnificently well in the music of Chopin, but it doesn’t work in Baroque music, which is intended to be played straight rhythmically. Playing a piece like the B minor Scherzo of Chopin with no rubato lacks expressiveness. Playing it with just a touch of rubato propels you forward from phrase to phrase.

The secret to effective rubato is being right on the beat where it comes.

Although you are speeding up and slowing down, you should never gain or lose beats. How can you speed up and slow down but never gain or lose a beat? The trick is, instead of thinking of the pulse of the fast notes, you think of the pulse of the longer note value which gives you freedom within the beat. That is one of the secrets to negotiating rubato without gaining or losing time. You can feel the slow beat, which gives you space to have some fluidity with not just the dynamic rise and fall, but also with the slight speeding and slowing down. That’s what rubato is all about.

There’s an art to playing expressively on the piano.

There are many factors to playing expressively. Just the sound you get on the instrument, you can get a harsh sound or a beautiful sound depending on how you approach the keys. Striking from above, you can get a harsh sound because you don’t have control. For example, if you are playing big chords, they can sound harsh if you don’t support them by being on the surface of the keys. You want to drop all the weight of the arms from the surface of the keys. Arm weight is also crucial for playing melodies. By using the weight of the arm, you achieve the analog of the breath in your playing. It’s amazing the difference in the sound you can get! We’ve learned so much today about the use of rubato, the phrasing and delineating of phrases, as well as dynamic articulation. These tools allow you to get a beautiful sound out of the piano, and be able to play expressively. That’s what it’s all about – eliciting emotions in the listener. I hope you’ve enjoyed this! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What makes a piano great? I have come across thousands of pianos in my life. I literally grew up with pianos. We had four pianos in our home growing up because my father, Morton Estrin, was a concert pianist and a Baldwin artist at that. We had three Baldwins at one time, a Steinway, a Sohmer; we had different pianos at different times, but I grew up with all of those pianos. I got to try out my dad’s pianos before recitals at Lincoln Center and Carnegie Hall. During his recording sessions, whenever he took breaks, I’d play these magnificent instruments that were prepared to such a high level.

I started selling pianos after graduating from music conservatory.

I was teaching piano, and so many people calling me for lessons didn’t own pianos! The first question I would ask is, “Do you own a piano?” Half the time, people would say, “No.” I would tell them they were better off with a piano and no lessons than with lessons and no piano. How can you learn if you don’t have an instrument to play? So I wouldn’t take students who didn’t have pianos, but I was losing out trying to start my career. That’s why I started seeking out inexpensive pianos that were worthy of restoration, mostly big, tall, old uprights, consoles, and spinets. The need for that has been so great that, my entire life, I’ve always had pianos in my home, at one time a large live/work loft, and have had piano stores as well. I’ve always literally lived with pianos!

I have a real perspective on what makes a great piano.

I’m going to share some tips with you. If you’re looking at pianos, you may wonder if the one you’re looking at is worthwhile. Well, of course, there’s a lot to that subject, and condition is of paramount importance. But what I’m talking about is not really the condition of the piano. Sometimes, we take in pianos that need complete rebuilding, which can take six months to a year! Yet some of them are good candidates, because I can tell the seeds of greatness are in there. Many just don’t have much potential and aren’t worth rebuilding.

How do you know if a piano has the potential to be great?

First of all, the condition of a piano has to be such that you can tell what it sounds like, unless you’re an expert who has vast experience with pianos. If it hasn’t been tuned in ten years and the strings are rusty, you might have no idea if it has any kind of potential at all. But I have an interesting story for you. A few years ago, I had a repeat engagement with the Piano Teachers Association. On stage, they had two brand new nine-foot concert grand pianos. I sat down at one, and it was an absolute dream. The other piano was nothing special. It really didn’t have the magic. So what is that magic? What makes one piano a gem and another one not so great?

Even with brand new pianos, some have more potential than others.

Piano soundboards are hand-built. Even though there are specifications for how they’re built, no two trees are the same. Every soundboard is unique! They are usually tapered on the edges, and they’re built with an arch in the middle, referred to as crown. You can measure crown, but that’s not going to tell you very much. You can run a string under the soundboard to see if there’s a little gap in the middle to check if it has that arch, but the tone of the piano is the way you can tell how good the crown of a soundboard is.

A large old piano might have a thunderous bass, but it’s in the treble that you most often lose the sustain of the tone.

Sometimes a piano will have good sustain in one register but may be lacking in another. By simply playing single notes with no pedal, you may be able to tell the potential of a piano. My personal piano is a late 1930s Steinway S, the smallest baby grand Steinway makes. My grandfather bought this piano for my father, and we rebuilt it a number of years ago. It has the original soundboard without even a hairline crack in it! That is very lucky, since this piano has grown up in a number of environments, yet it has pretty amazing sustain and projection. Listening to a single note with no pedal, you can hear how long the tone sustains. When you get to the really high register, that’s where a lot of pianos really lose it.

There are all sorts of techniques that can be employed to try to increase the sustain of the tone. First of all, you can restring a piano if the strings are old and tired. Just tapping down the strings at the point of termination at the bridges to get good, clean contact from the metal to the bridge can really help. But if you play note to note and none of them have really good sustain, you’re probably not going to get very good results. If you find some of the notes have good sustain and others don’t, there’s hope!

In the middle register on a great piano, the sound of the notes seems to almost get bigger after the initial attack.

You can hear how notes in the middle register open up after the initial attack. That is a sign of a great piano. If you have that in all registers, you’re in great shape. Now, if you’re looking at a piano you may want to buy that has not been prepped and you’re wondering what potential it has, listen to several different notes in various registers. If a good number of the notes have that quality of sound, the piano may be worth restoring. But if you have a whole register that is lacking in that expansiveness of tone and sustain, you’re probably never going to get great results out of it. Sometimes you can replace a soundboard and bring that vibrant life back to a piano; however, that’s very expensive because it involves rebuilding the whole piano. Just the soundboard can cost in excess of $10,000!

That’s how you can determine if a piano is great!

Obviously, a great piano is one that has the potential, has had the work done, and is in magnificent condition inside and out. If you have that, you have the ultimate piano! I hope this has been helpful for you! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about repetition in your piano practice. Repetition is an essential part of piano practice, but did you know that the essential element of repetition is not the repetition itself? It’s the time between the repetitions. All too often, I’ve seen students fall into a trap. If you don’t take the essential time between each repetition, you can fall into an endless loop of missing things over and over again, essentially practicing playing badly. That’s what you want to avoid!

There are myriad ways you can practice.

I would suggest practicing slowly. You can turn the metronome on at a comfortable speed, and do progressively faster metronome speeds. You can work on note groups. You can do rhythms. You can do so many things! But that’s not what I’m showing you today. I’m showing you how to deal specifically with just repeating something until you get it right, which I’m sure all of you do on a regular basis in your practice. But you have to remember that the repetition is not where the value comes in.

The time between the repetitions is the practicing; the playing of the passage is not the practicing.

The playing is only a check of your work. The work happens in your head between each repetition. So if you play, and something isn’t clean, identifying the correction is number one. Find where the correction is. Focus your attention on the correction, and then you can come up with a strategy for cementing it. You want to find a spot to start just before it so you can repeat the correction. Once you get the correction solidified, go back and see if you can put it into context by starting at the beginning of the passage. Each time you play it, take a moment to think about what you just played. If it comes out absolutely perfectly, see if you can repeat it perfectly again. If there’s anything that isn’t quite right, identify the specific correction before you repeat it. This is essential. Each time you play it, stop and think about what you just heard.

Take the time between repetitions to mentally study what you just played.

Find the correction in the score, then implement the correction by starting strategically at the exact right spot before it at the beginning of the phrase. You don’t want to start right on the correction. However, initially, just to know what the correction is, you might play the notes you are having trouble with, but then find where you can start just before it. You have to be able to get into it in the context of the piece. You want to find the closest spot before the correction to start from. You can either land on that note or land right after that note, then cement it and go back. Initially, you may even want to stop just before the correction, then play the correction so you are sure to play it accurately from the get go. With each repetition, you must analyze your work and think about what you want to accomplish. If you fall into mindless repetition, where you are just repeating things without listening to what you did and coming up with a strategy to improve it, you are not practicing at that moment.

Remember, practicing is a thought process!

Playing is not practicing! It’s the analysis of what you’ve played that is going to improve your playing. That’s the lesson for today! If you have any questions, you can ask them in the comments here at LivingPianos.com and YouTube. I hope this has been helpful for you! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: Can you make a crescendo on a chord on the piano? How many of you have seen a held chord with a crescendo on it in your score? How can you possibly do something like that? Did the composer not understand the physics of the piano, or were they just crazy?! Why would they ever write a crescendo on a held chord? Well, there are some very good compositional reasons for this, and I’m going to show you how you can achieve the effect of a crescendo on a chord on the piano!

Sometimes you will see a crescendo on a held chord in your score.

As an example of this, I’ve pulled up Grieg’s Lyric Pieces. In the third one, called Watchman’s Song, near the very end, there is a held chord with a crescendo on it. What is meant by that crescendo? Well, the composer is trying to show you that this phrase is not ending gently. It’s moving forward. There are some things you can do to achieve this effect; one way is with the use of the sustain pedal.

The sustain pedal can create the sense of a crescendo on a held chord.

When you use the pedal on a chord, you get a little bit of a sense of growth in the sound as all the other strings of the piano can resonate because the dampers are lifted. When you play it and gently move forward right at that point, you almost get the sense of a crescendo. You can play the chord a little bit louder in anticipation of the crescendo, pedaling very soon after the initial attack to get more of a booming sound. Whereas usually the way to pedal chords is to pedal just as the chord starts fading away to mitigate the dying away of the chord thereby increasing the sustain. But when you’re trying to get a downright crescendo, put the pedal down very soon after the initial attack. Your attack should be stronger than it would be without a crescendo. Keep things moving forward, almost anticipating the next chord to try to get the sense of a crescendo.

Indeed, you can get the effect of a crescendo on a chord!

Even though physically it’s not really possible, you can get the effect of a crescendo by utilizing the pedal, anticipating the crescendo a little bit early, and letting the music move along through the crescendo. That’s what the composer intended. They weren’t out of their minds. It wasn’t like they didn’t understand the physics of the sound of a piano. I’m sure Grieg understood! You can hear the effect that it creates when you follow the composer’s intentions. After all, the piano is an instrument of illusion. There’s so much we do with the piano that you wouldn’t think is possible. Just getting a singing line out of a percussion instrument, where every note is dying away, is a huge challenge. So this is what you must do. Think of what the composer intended and find a way to achieve it with the way you approach the music and how you apply the pedal. I hope this has been helpful for you! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to talk about two essential tools that every musician should utilize. You practice hard to improve your playing. Is there any device that can help you with your practicing? There are two tools that are absolutely essential, and I’m sure you’re already familiar with them. But I’m going to tell you how you can make the best use of them.

The first tool is the Mighty Metronome!

Love it or hate it, the metronome really is essential in your practice. Why is the metronome so important? You might think that if you have a good sense of rhythm, you don’t need a metronome anymore. Maybe you even practice while tapping your foot, so you think you’ve got it covered. First of all, on the piano, you need to use your feet for the pedals. Not only that, but tapping your foot is distracting for the audience. Now, there are certain styles of music where tapping your foot is accepted and maybe even beneficial. In hard-driving jazz, you’ll see great players tapping their feet because it’s such highly energetic, rhythmically oriented music. But in classical music, this really takes away from the experience. Also, you want to have an internal clock. There are also nuances of tempo such as the use of rubato.

The metronome can help you get particularly difficult passages up to speed.

If you have a tough section and you want to get it up to speed, working with the metronome doing progressively faster metronome speeds is a great technique. You can also use the metronome to check your work to make sure you’re playing everything at the same speed. Maybe you worked really hard on a difficult passage that you never could get fast enough, but you don’t even realize that now you are overcompensating. Now you’re playing that section faster than the rest of the piece! None of us has a perfect clock in our heads. This is why the metronome is absolutely essential.

Is it better to use a physical metronome or an app on your phone?

Metronome apps are great in some respects, although there are some that default to having an accented beat. I have a pet peeve about these accented beats. Why? First of all, it’s completely unnecessary. If you don’t know where the first beat of the measure is, you better check your score! But worse than that, it wastes your practice time because you have to wait for the accented beat every time you start playing. So find an app that doesn’t have an accented beat, or one that can be turned off. A little hack you can use if your metronome doesn’t have that feature is to set your time signature with the top number being one. If you’re in 1/4 or 1/8, every beat will be accented because there is only one beat in each measure. Metronome apps can go slower and faster than an old-school metronome. But you generally never need to go below 42 or above 208. If you need it to be faster, you can just set the metronome at half the speed and achieve the same thing. There is one benefit to using a metronome app, which is that you can tap in the tempo. This is valuable for quickly setting the proper speed on your metronome.

When practicing using progressively faster metronome speeds, a physical metronome has a major advantage.

Digital metronomes always seem to have all the numbers. So if you’re at 60, the next number is 61, then 62, 63, etc. On physical metronomes, they go from 60, 63, 66, to 69, etc. And most importantly, if you’re at 120, it doesn’t go to 123; it goes to 126, which is double 63. So it’s progressive in a logical fashion. If anyone knows of a metronome app that has the real speeds of a physical metronome, let us know in the comments here at LivingPianos.com and YouTube!

The second tool that is essential for musicians is an audio or video recording device.

If you’ve never recorded yourself playing your instrument, you owe it to yourself. You will learn so much! Think about the first time you ever recorded yourself talking; it probably sounded strange when you listened back. Well, guess what? When you hear a recording of yourself playing the piano, you will learn so much about the way you sound. I was talking to one of my students the other day. I told him to exaggerate the dynamics because, when you are playing, you are only two feet from the piano. You don’t hear it the same way a listener in the room is going to hear it. So he played for his girlfriend and exaggerated the dynamics to the point that he thought it was grotesque, but she said it sounded absolutely beautiful. So you could put your recording device across the room to hear what your playing sounds like to somebody listening to you.

Recording yourself is a great way to practice performing, because the first time you play for people, you may get nervous.

Recording yourself gives you a little try out before performing for an audience. You can listen back, and with a pencil, you can mark places on the score the sections you need to work on. You will be amazed at how much perspective this gives you!

So these are the two indispensable devices for musicians: the recorder and the metronome. I hope this has been helpful for you! Let me know your thoughts about these tools in the comments here at LivingPianos.com and YouTube. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrinContact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s topic is about the rule of thumb on the piano. Actually, you are going to get three important tips! What is it about the thumb? The thumb is obviously a completely different finger from all the others on your hand. Therefore, there is a different approach you must have for the thumb in piano playing. Let’s explore this together.

The first thing is the position of the thumb.

The position of your fingers on the piano is pretty obvious. You place your fingers right on the keys! You don’t want to play with flat fingers, because your fingers are all different lengths. You want to curl them a bit bringing them forward to make them all the same length. This is very helpful for piano playing. As for your thumb, you don’t want your whole thumb flat on the keys. Instead, you want to play with the tip of your thumb, like the other fingers. You can’t get much control when you’re playing with the whole thumb.

The thumb is the strongest finger on your hand by far. This presents enormous challenges on the instrument. The melody is usually on top, and the second most important voice, oftentimes, is the bass. So you want to hear the top and the bottom. So how is this achieved?

In order to equalize the force between your thumb, and your fourth and fifth fingers, you arch your hand.

The power of the arch is tremendous! When you play with your thumbs flat on the keys, it gets too heavy. By going into the right position, you have control. The arch position is especially beneficial when you’re playing octaves. Without the arch, you get an uneven sound, because the thumb is naturally so much stronger than the other fingers. By arching, you can equalize the force from each side of the hand. You want the other fingers to be curved and up and out of the way, particularly your second finger.

The last tip is to prepare thumb crossings in advance.

You have thumb crossings when you’re ascending in the right hand or descending in the left hand. So if you’re playing an ascending scale in your right hand, for example, you want to have the thumb tucked under right after the second finger plays. Otherwise, your hand will have to pivot at the last minute. You won’t be able to go fast doing that. There is just too much movement in the hand. You can achieve smooth thumb crossings by practicing slowly and having the thumb crossing in advance. By practicing preparing your thumb in advance, you are able to develop fluency.

So those are the three tips for today!

Play with the tip of the thumb, arch the hand to equalize the force of the thumb, and prepare the thumb early by tucking it under when ascending in the right hand and descending in the left hand. I hope this is helpful for you! Let me know how this works for you in the comments here at LivingPianos.com and YouTube. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: How do you get back in shape on the piano? If you have ever gone on vacation and returned to find your fingers out of shape, you may have wondered how to get them back into shape without hurting yourself. I personally have experienced pain in the joint of my right thumb when I play big chords and octaves after taking a break from playing the piano. However, I have found that building up the muscles in my hand helps me overcome this issue.

If you take a break from playing the piano, it is important to be cautious when getting back into it.

The most taxing pieces to play on the piano are those that involve big chords and octaves. Music like this puts a lot of stress on your fingers. Pieces that are right under your fingers and do not require reaching far are much less taxing on your hands. The ideal music for getting back into shape on the piano are Bach’s two-part Inventions. These pieces have clarity, musical lines, and rarely have more than one note at a time in each hand. This makes them perfect for gradually building up your finger strength. I will demonstrate this with the very first Bach invention in C Major in the accompanying video. It is ergonomic and falls right under the fingers.

Bach’s music is great for getting back into shape because it rarely involves massive chords.

Even the Italian concerto, which does have a number of chords, never exceeds an octave. By playing pieces that have no more than one note in each hand, you can gradually build up your finger strength so that you can handle more taxing music. Playing slow movements of Mozart Sonatas is another great option since the music lies under the hands very nicely. This is the best way I have found to get back into shape on the piano! Share your ideas on how to build back strength here on LivingPianos.com and YouTube. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to be in the moment in your playing. It’s so important! If you have performed for friends or your teacher, you know that sometimes it’s easy to become distracted. You want to be present in your playing; but it can be so incredibly difficult. I’m going to give you some ways of thinking about this, and approaching it, that hopefully will be helpful for you!

The first thing I want to talk about is a little bit philosophical.

We sometimes assume that words are thought. The whole idea of thinking in your head is that you’re stringing words together. But words were invented for communication, to be able to express ideas to one another. You don’t actually need words to think about something. Have you ever had a revelation that just came to you? Did you have to string words together in order to have that thought? Of course not! The words express the thought, but they aren’t the thought themselves. This is why there are those who master the art of meditation. They clear their minds from the internal dialog to be able to have pure thought, not hampered by words. If you’ve ever been in a state of flow while doing anything, whether it’s experiencing a beautiful sunset, looking at a beautiful painting, or just enjoying a moment of life without quantifying it and defining it with words, you understand that this is one of the most beautiful things there is in life! You don’t need to label every single thought.

How does this relate to music?

When you’re playing music, the thing that will distract you more than anything else is using words in your head, and thinking about what you’re doing instead of just doing it. You want to be present in your performance. You don’t want to be analytical and judgmental, thinking about what note comes next. You can’t think that way, it’ll drive you crazy and destroy your performance. You have to be right in the moment with a sense of where you’re going. Just like in life itself, you want to be living in the moment with a sense of continuity. You want to know where you are and where you’re heading.

The way to achieve this in music is simply by listening!

Listen to the sounds. Become absorbed in the beauty of the music you’re creating at that moment, rather than getting distracted with the mechanics of your playing. Of course, there has to be a certain amount that you keep present, in the analytical sense, so you don’t take a wrong turn in the score. There has to be a certain amount of intelligence. But moment to moment, you should not be bogged down with these intellectual ideas. Instead, enjoy the sound and explore where it’s going next. The most satisfying musical performance you can ever have is one where the music is unfolding, and you yourself are listening in anticipation of where it’s going to go next. You may have experienced this before if you have ever played on a different piano. It sounds different, and as a result, you’re playing with fresh ears. That’s the secret of what you want to achieve in your musical performance.

You want to be listening to, and engaged in your own music.

That’s what draws the listener in! It’s what keeps you on track in your musical performance. So remember, don’t get hung up with intellectualizing what you’re doing more than necessary. Just keep your wits about you to avoid taking wrong turns, knowing where repeats are, and knowing where you are in the score. If there are leaps that you have to quantify, you need to have your intellect alive. But don’t get bogged down with it. Enjoy your musical performance! Listen to it and everybody else will too. I hope you’ve enjoyed this! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Not only that, but you must project out into the room. Remember, you’re not just playing the piano, you’re playing the room you’re in! You must reach every listener in that room. So project your sound. Don’t be afraid to use some energy! As long as it’s a smooth energy, transferring from key to key with the weight of the arm, it will never have a harshness, and it won’t sound forte or even mezzo forte. It will have a tonal quality of piano. That’s the lesson for today! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com