Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how playing fast is easier than playing slowly. You might think that’s crazy. Of course, it would take more work to be able to develop speed in your playing. There is some truth to that. But once you do have some speed and fluency in your playing, have you ever tried to go back and play slowly again? It can be really difficult! There are a lot of reasons for this. We’re going to discuss this and what you can do to help your playing.

Once you’ve played a piece many times, your fingers just know where to go.

Years ago I made a video about how playing your scales should be on autopilot. I likened it to learning how to walk. You see toddlers taking their first steps. The concentration on their faces is unbelievable! Of course, once you learn how to walk, you really don’t think about it. It’s almost involuntary. You can be thinking about other things while you’re walking once you learn how to do it. Well, the same thing is true of scales! It’s also true of all the music you play. You get to a point where your mind is wandering, but your fingers keep going. That’s actually a good thing in some respects. If you didn’t have that to rely upon, it would be hard to be focused 100% of the time. But naturally, you can’t depend upon that motor memory, finger memory, muscle memory, whatever you want to call it.

When you play slowly, it’s harder to think through everything.

When you slow things down, every single note becomes very obvious. But there’s another reason why playing fast is easier than playing slowly. I’m not even talking about the solidity of how well you know the score. I’m talking about musical considerations. When you’re playing slowly, it’s very difficult to even know where the line is. For example, Chopin’s E Minor Prelude. Playing that piece slowly and trying to get a sense of the rise and the fall of the line is all but impossible. It’s very difficult to maintain a line playing under tempo.

All music really is reflective of the human voice.

All instruments are an extension of the instrument we all carry with us. Naturally, wind instruments are a direct analog to the human voice, because the breath is involved. It’s a natural extension. Bowed instruments, like a violin or cello, have the continuum of the bow against the strings. On the piano, it’s a challenge to create that continuum of sound. But imagine a wind player or a singer trying to sing a song much slower than its normal speed. It would be hard to sustain the phrase. You would run out of air! It would be hard to get a sense of the line. That same Chopin prelude played at a faster tempo, with the pulse of the quarter note or even the half note, makes it much easier to feel the musical line.

Once you know a piece, it’s so much easier to play it faster, because you can get a sense of the line.

The challenge is gaining enough fluency that you can play up to speed. Sometimes it helps just trying to play something up to tempo. Even if it’s not totally polished, playing it up to tempo helps you know what you’re working for. Of course, you don’t want to repeat sloppy playing again and again. You may even want to play just the right hand, just to get the feel of the phrasing. Once you understand the intention of the music, your practice is so much more productive. You want to know what you’re aiming for. So think of your music up to tempo, even if you can’t quite play it yet. Try to play it up to speed so you get a sense of the music. Your practice is always in service of the music.

That’s the message for today! I hope this works well 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. The subject today is about the advantages of a weighted action on a keyboard or piano. You’ve heard these terms, of course. You might wonder, what is this all about? Can you get more expressiveness out of a weighted action just like you do on a grand piano?

All pianos have weighted actions because you’re moving a lot of mass.

Keyboards don’t have much mass. You don’t necessarily need a heavy action to get good control on a piano. Some pianos have heavy actions. Some have lighter actions. As long as the regulation is top notch, you can get tremendous control out of a lighter action, just as much as a heavier action.You might wonder why would you want to have a weighted action if you can get good control without it. The fundamental reason is that piano is different from most other instruments since other instrumentalists can carry their instrument wherever they go. If you’re a guitar player, a flute player, or trumpeter, you just take your instrument with you! No big problem. Well, obviously pianists can’t do that.

You must learn to adjust to any piano you encounter.

Whether it’s at lessons, school, church, recitals, friends’ houses, any piano you encounter, you have to be able to sit down and play whatever piano you encounter. If you’re practicing all the time on an action that isn’t weighted, you’re not going to have the strength to play an acoustic piano, because it takes more effort. You have to push down about 50, sometimes as much as 60 grams of down weight just to get the key down! So if you have a feather light action, you’re not going to be prepared physiologically to play other pianos. You’re not going to develop the muscles for it. So it’s really important to have a weighted action. I would recommend an 88 key weighted action.

You also hear the term weighted graded action. What does that mean?

If you look inside a piano, you’ll notice that the keys on the higher end are shorter and the hammers are thinner. In the bass, the keys are longer and the hammers are bigger and fatter, because they have to excite a much thicker, longer string. So indeed, pianos get lighter and easier to play as you get to the higher end compared to the lower end. On some pianos it’s a subtle difference. On other pianos it’s a dramatic difference. Is this important in your piano practice? Some people would say it is important. But to me it’s really not the most important aspect of a keyboard or digital piano action. The key travel is more important. When you have a keyboard that’s very small, the keys are short beyond the fall board. So when you’re playing black keys, or the white keys between black keys, the key travel is minimal. It’s just like being close to the center on a seesaw. It’s difficult to gain leverage. So to me, that’s more important than whether it’s graded or not. The action should have a substantial feel.

A real piano has what’s called escapement.

Try pushing a key down very slowly on your piano and you will notice at a certain point there’s a little bit of resistance that you have to push to overcome. This is normal. Pianos have what’s called a double escapement mechanism. It was a harpsichord builder named Cristofori, around the year 1700, who came up with the first harpsichord that could play soft and loud. He called his instrument, “Gravicembalo col piano e forte”, which translates to, “Harpsichord with soft and loud”. It could play soft and loud from the touch, and it had the essential escapement mechanism. What does that mean? Well, before then, there were no keyboards where a hammer or other implement could hit a string and escape it. On a clavichord, for example, the strings kept in contact with the blades that struck the strings. With a piano, as soon as the hammer hits the strings, it escapes the string!

Modern pianos have what’s called a double escapement.

When you play slowly, the hammer travels its full distance. But when you play quickly, there’s a back check that catches the back of the hammer, so the hammer doesn’t have to travel so far allowing for more speed. It’s an ingenious invention that came about thanks to generations of keyboard builders, as well as composers working hand in hand with piano builders. During Beethoven’s lifetime, the piano evolved substantially with the demands of the music being written for the instrument.

These are the important things to look for in your digital piano or keyboard.

Look for an 88 key weighted action. If it’s graded, great! But more importantly, is the feel and the key travel. And if you’re serious about playing the piano, you’ll want a weighted action even if you’re not playing other pianos that much. Your hands will develop more strength. You will accomplish more by doing the same amount of practice. If you’re like most people, it’s hard to find enough time to practice. So you might as well get as much done as you can for the time you spend!

I hope this is helpful for you! Let me know in the comments here at LivingPianos.com and on 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 why you should not play expressively with your left hand. This is a bold statement. In fact, there are qualifiers here. Why shouldn’t you be expressive with your left hand? Well, there are times when you should. But mostly you should minimize the expression of your left hand, or whichever hand is playing the accompaniment, which is usually your left hand.

By focusing the attention on the right hand, and not overdoing the left hand, it makes the music much more rewarding.

After all, nobody is interested in hearing the accompaniment. It’s really just subservient to the melody, which is what the audience is going to go out singing at the end of the concert! You want to draw the attention to the melody. Use the accompaniment as a bed for the music to float on. That will make it much more musical because it doesn’t distract from the beautiful melody; it just supports it. Orchestral musicians learn this, playing second horn or second flute, being able to to be like one with the principal player. They are always just enhancing the melody rather than overtaking it and taking attention away from it. You can do the same thing in your piano playing.

There are times when the melody is in the left hand and the opposite is true.

For example, in Chopin’s B Minor Prelude, you have a melody in the left hand. Playing equally expressively in both hands takes away from the melody. You want to let the melody of the left hand just sing. Let the right hand be subservient so you can hear the tenderness and the subtlety of expression of the left hand melody. You don’t have to throw it on people’s heads! Let them reach out and yearn to absorb that melody by making it readily available to them by not overshadowing it with the accompaniment. Usually the left hand plays the accompaniment, but not always. I would love to get your opinions on this subject! Leave your comments here at LivingPianos.com and on YouTube. 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

Welcome to LivingPianos.com, I’m Robert Estrin. Have you ever wanted to develop more stamina on the piano? That’s the subject for today. Many of my students, and people who contact me, wonder how to develop more stamina, to be able to play longer periods of time without wearing out. Some people find if they play through a longer piece, by the time they get to the end of it, their hands are giving out. They wonder, Is there anything they can do about that? I’m going to give you two tips today to develop more stamina in your playing!

Play more and vary your practice.

You may find that if you play for a certain amount of time, your hands get tired. Your abilities start to fall off on what you’re able to do with the instrument. Well, here’s a tip for you: Vary your practice between things that are technical and physically oriented, and things that are more mental. Memorization comes to mind. If you’re learning solo music, memorizing takes a great deal of time. Even if you’re playing music that you’re reading, you need to practice the music, figure things out, and intellectually understand the score. For example, let’s say you’re working on a really tough passage, spending a good deal of time with it. Take a break! Move on to other things. Absorb new material or read through some of your new pieces, which might be very slow going at first. This won’t be nearly as physically demanding. But at the same time, you’re practicing for longer periods of time. Just like in exercising, the varied amount of work you do with interval training (alternating between high and low intensity activities) is beneficial to your muscles and your general well-being. It’s the same thing with your piano playing! So vary your practice.

Another thing that is incredibly valuable is just playing through your pieces.

Let’s say you’re working on a new piece, but you have several older pieces that you still have in shape to some degree. Play through your pieces each day! By playing through your music, you get used to playing for longer periods of time. Not only that, you have the tremendous benefit of solidifying your performance! If you’re used to running through your pieces again and again and again, when an opportunity comes to play for people, it’ll be second nature for you.

The other technique has to do with how you approach the keyboard.

You can actually play lighter on the piano. There are times when this is incredibly valuable. In your practice, of course, at times, you’re going to play slowly with firm fingers to make sure every note is secure. But when you’re performing, you flip that. You play lightly, staying close to the keys, with rounded fingers. Why rounded fingers? There are two fundamental reasons. Number one is the fact that if you play with flat fingers, you’re using one joint, just the knuckle joint. When you play with rounded fingers, you’re using all the joints. So the load of working to push the keys down is spread among more joints and muscles. The other thing is if you just let your hands rest on the keys, they’re naturally going to go into a rounded position. It takes effort to keep your fingers flat! So just let your hands go into the natural rounded position, and you’ll get the benefit of all your joints working together to play the piano with ease.

Stay close to the keys.

It takes much more effort to raise your fingers. In practice, using raised fingers helps to delineate what keys are down and what keys are up. It really helps your hands feel the notes and all the reaches. That’s a great way to practice. But when you’re performing, you want to lighten things up and stay close to the keys. This is also true with wrist work with staccatos and such. You use your wrists in order to achieve a crisp staccato and speed. But by staying closer to the keys, you play lighter. Staying close to the keys takes much less effort and it enables you to go faster.

Developing more endurance involves practicing intelligently.

To recap: try to play through a lot of music on a regular basis. Take breaks if you get tired, but come back to it again and again. You could just take breaks from intense practice that uses a lot of physiology and do more mental work. Intersperse the physical with mental practice. When you perform, lighten up. Stay close to the keys with rounded fingers and don’t use excessive wrist motion for octaves, chords and staccato technique. This should help you develop more endurance. Let me know how this works for you! Any other tips? You can post them here on LivingPianos.com and on 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 minor scales. What are minor scales? When you have a piece of music, how do you know if it’s in the major or in the minor? You’re going to learn that today! I have another video on key signatures and also on major scales, which would be very helpful for you in preparation for this video if you don’t already have a solid grasp of that.

Major scales are a series of whole steps and half steps with all whole steps, except between the
3rd & 4th and the 7th & 8th notes.

On the piano, the C major scale is obvious because it is all white keys. You have half steps between the 3rd & 4th, and the 7th & 8th notes which are E & F, and B & C which have no black keys between them. So I’m going to use C major first as an example. If you have a piece with no sharps or flats in the key signature, it may be in C major. But suppose it was in a minor key. What key would that be? How would you know it’s in a minor key if it has the same key signature?

The sixth note of the major scale is the tonic, or the root, of the minor scale.

You take that C major scale and count up to the sixth note, which is A. Play all the notes of a C major scale starting on A and you’ll end up with the A natural minor scale. So when you see a piece of music without any sharps or flats, it may be in C major, but it may be in A minor. How do you know? Well, the minor is rarely found in its natural or pure form, unless you go really far back before major/minor tonality was really entrenched in Western music, starting in the Baroque era in the 1700s. Before that, modal music was very popular in Renaissance music and such.

In post-modal music, there are two forms of the minor that are prevalent:
The harmonic minor and the melodic minor.

This is how it works. The piece might be written with no sharps or flats, but accidentals are written in the score wherever they occur. The harmonic minor has a raised seventh. The seventh note is raised by a half step. So you go back to what we started with. Go to the sixth note of the major scale. Play the minor scale, but when you get to the seventh note of that minor scale, raise it by a half step. You can hear the strength of the raised seventh propelling you up a half step to the tonic. It begs for resolution! So if you have a piece of music with no sharps or flats, and you have G sharps all over the place, it could very well be in A minor, the relative minor of C major.

Another form of the minor that’s also very common in Western music is the melodic minor.

The melodic minor has a raised sixth and seventh. However, it descends using the natural minor. So if you have a piece with no sharps or flats, you would be looking for G sharps in particular, and possibly F sharps. If there are a lot of them, and you look at the harmonies, and there are a lot of A minor chords, and the piece ends on an A minor chord, it is undoubtedly in A minor, not C major.

How does this help you with other key signatures?

If you have two sharps, you might know that two sharps would be F sharp and C sharp. Go up a half step from the C sharp. That could be D major. But if it’s in the relative minor, you go to the sixth note of that major scale, and form the relative minor. So if you have two sharps in your key signature, it might be in B minor. The B minor scale would have a raised seventh. Instead of playing A natural, the harmonic minor would have A sharp. If it was in the melodic form, it would have a raised sixth and seventh, and it would descend in the natural minor.

Any time you have a key signature, figure out the major key first.

Once you know the major key, go to the sixth note of that major scale. Play all the notes of that major scale starting from the sixth note to that same note an octave higher. When you get to the seventh note of that minor scale, raise it a half step to figure out the accidental to look for. It won’t always be a sharp. It could be a natural that would raise the note. If the seventh note was already a flat, then you would raise it a half step by making it a natural. I hope this makes sense to you! If you have questions you can address them here at LivingPianos.com and YouTube in the comments section. I will try to answer as much as I can for you and make future videos based on your questions! 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 play with rubato. When you hear great pianists and other instrumentalists, they bring you on an emotional journey with their music. This is in no small part by the use of rubato. Rubato is an expressive playing technique, used primarily in Romantic era, 19th century music, of speeding up and slowing down, never gaining or losing time, but having a little bit of motion in the tempo.

Rubato pulls the listener in and adds emotion to your playing. 

An example of a piece you would play with rubato is the B minor Prelude of Chopin. Play it absolutely straight with no rubato whatsoever and it doesn’t really grab you and pull you in. It’s a beautiful melody, but it doesn’t feel right without rubato. If you tap along, you’ll notice you can just tap out the eighth notes along with the music. 

One of the secrets is thinking of the larger pulse. 

Instead of feeling the eighth note rhythm, feel the quarter note as the beat. The ebb and flow never gains or loses time, but just floats around the beat. It pulls you in. It’s very emotion inducing music when you play with rubato. Experiment and remember to feel the longer note value. You can’t play rubato very effectively if you’re thinking every single eighth note, or worse every sixteenth note! Feeling the pulse of the quarter note gives you a lot of room to play around with the beat. And remember to never gain or lose time.

That’s the secret to rubato!

Try it in your music! Let me know how it works for you in the comments here at LivingPianos.com and on 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 I’m going to share with you the magic formula for key signatures. Many of you know your key signatures. But maybe you don’t quite understand them or you’re not fluent with them. Do you need to memorize all that stuff? Surprisingly the answer is no. Why not? There are formulas you can use to figure them out!

You never have to memorize your key signatures.

Believe it or not, I have never memorized my key signatures, but I can name them. F, C, G, D, A, E, B. How did I do that so fast? I’m actually thinking through the intervals that fast. I’m going to show you how to do exactly the same thing so that you don’t have to memorize them. You can understand them and figure them out. You might not be able to figure them out as quickly as I just did, but you will be able to figure them out. You will get faster with it over time.

The interval of a fifth is critical in key signatures.

What is a fifth? The fifth, simply put, is the fifth note of a scale. So in C major, G is the fifth note of the scale. This interval is what’s called a perfect fifth. It’s a perfect fifth because G is the fifth note of the C major scale. You can invert this and put the C on top. It’s still a perfect interval, but now it becomes a fourth. So fourths and fifths are essentially the same. That’s one of the reasons they’re perfect intervals. Inverted, they remain perfect. Incidentally, octaves are also perfect intervals, as well as primes or unisons. If two people are playing the same note on different instruments, that’s called a prime. Once you understand fifths and fourths, the rest is easy!

If you have a key signature with sharps, the first sharp is always F-sharp.

You have to memorize that F-sharp is the first sharp. Once you memorize that and a couple other small details, the rest is seamless. So you have F-sharp. From there it goes up by fifths. You can either count with your fingers or you can do it on the piano. Count out five notes, F, G, A, B, C. C is the second sharp. From here you count out the next one, C, D, E, F, G. G is the next sharp. You can keep counting this way. D is the next sharp, then A, then E, and the last sharp is B. So these are all the sharps, F, C, G, D, A, E, B. You don’t have to memorize them. You just have to be able to figure them out.

How do you know what key you’re in?

If you go up a half step from the last sharp to the right, that’s the major key. So if you have one sharp, an F-sharp, go up a half step to see you’re in the key of G major. If you have two sharps, F-sharp and C-sharp, you’re in the key of D major. If you have three sharps, F-sharp, C-sharp, G-sharp, you’re in the key of A major. If you have four sharps, F-sharp, C-sharp, G-sharp, D-sharp, you’re in E major. If you have five sharps, F-sharp, C-sharp, G-sharp, D-sharp, A-sharp, you’re in B major. With six sharps you end on E-sharp, which means you’re in the key of F-sharp major. And finally, all seven sharps mean you’re in the key of C-sharp major.

That’s just half the story, because now we go to flats!

The first flat, if you only have one, is going to be B-flat. From here it goes down by fifths. I mentioned earlier that fifths and fourths are the same thing reversed. So you might as well go up by fourths because it’s easier to count up than down. So B-flat, E flat, A-flat, D-flat, G-flat, C-flat, F-flat. That’s the order of the flats. This is exactly backwards from the order of the sharps. The patterns are unbelievable!

Finding what key you’re in is even easier with flats.

There is one that you must memorize. The key with one flat is F major. It has the B-flat in it. You just have to know that. From there, the second to last flat is the key you are in. Because all flat scales, with the exception of F major, begin on a flat. So if you have two flats, B-flat and E-flat, you’re in the key of B-flat major. If you have three flats, B-flat, E-flat, A-flat, you’re in the key of E-flat major. If you have four flats, B-flat, E-flat, A-flat, D-flat, you’re in the key of A-flat major. And it goes on and on that way.

So all you have to look for is the last sharp on the right and go up a half step to find your major key. Or look for the second to last flat to the right to find the major key. I hope you enjoy these theory primers! Let me know in the comments here at LivingPianos.com and on 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. Is it okay to re-divide the hands in piano playing? That’s the question today. There are many schools of thought on this subject. With Beethoven in particular, there are many people who feel that it’s very important to play the music exactly as it is written and not to redistribute the notes between the hands in a way that Beethoven didn’t write. Other people think as long as it sounds good, what’s the difference? Is there a difference? Should you divide the hands or not?

It really depends upon how you execute the music.

The question is, can you make it sound the way it is written while re-dividing the hands, or is it going to sound different? If it sounds choppy then that’s no good. If you know the sound that the composer intended and you divide the hands in a way that sounds the same, but it’s easier to negotiate, in my opinion there is absolutely nothing wrong with doing that. As long as the integrity of the sound is maintained based upon how the composer wrote the music, there’s nothing wrong with re-dividing the hands to be able to negotiate passages more cleanly and faithfully.

If somebody can hear the difference in the way it sounds, you should avoid dividing the hands.

Re-dividing the hands can be a lifesaver in a lot of instances. It can make the music sound better. It can help you play more cleanly. Just always keep in mind the intent that the composer had in the way they wrote the score. That’s my opinion. Let me know in the comments how you feel about this! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’ll be sharing two ways to solidify your musical performance. Say you have a piece of music you’ve worked on for a long time. You can play it pretty well, but not every time. Maybe when you’re alone at home, it comes out perfectly sometimes. Then, for no reason you can discern, things fall apart. It’s just not dependably solid. Is there anything you can do about that? Yes! I’m going to give you two completely different methods for solidifying your musical performance.

Take out the score and play slowly with raised fingers.

Whether it’s a piece you’re playing with the music or a piece you’ve memorized, get out the score, put it on your music rack, get out your metronome, take your foot off the pedal, and play slowly with raised fingers. What’s this about raised fingers? When you play with raised fingers, it trains your hands which fingers are down and which fingers are up. Everything is exaggerated. When you play a piece over and over again, after a while, your hands just naturally go to the right keys. But then you’ve done it so many times, you don’t even know what your hands are doing. They’re kind of doing it all on their own! You lose sense of the intellectual understanding of what you’re doing.

When you take out a metronome and you play something slowly with raised fingers, it ingrains the music into your hands and into your ears.

This is a great way to solidify your performance. You would be surprised how productive it is going through your music even once like that. And obviously, if there are any parts that you can’t play perfectly at that slow speed, then it’s going to show up like a sore thumb! It’s like putting your playing under a microscope when you play that slowly and intentionally. Anything that isn’t solid is going to be obvious. So that’s a great way to solidify your musical performance. The other way I’m going to show you is completely different.

Take a piece you can play and play it faster than you usually do.

Take a piece that you can already play and you want to solidify. You can play the piece, but every now and then something falls apart. It seems very random where things fall apart. How do you figure out what to practice? Go through your music faster than you usually do. When you miss something, that is the weak point. Zero in on the ten or twenty percent of the piece that you can’t play at that faster tempo. Those are the weakest parts. Then you’ve just zeroed in on what to practice! A shotgun approach to practicing is not very efficient. You don’t need to practice equally on everything. This is a great way to discover what needs work.

You can practice those trouble sections in innumerable ways.

You can practice hands separately. You can do progressively, faster metronome speeds, starting from a slow tempo and working your way up a notch at a time. You can practice little snippets and put the little snippets together. There are many different ways of practicing. But for identifying where to put your practice time in, this is a great technique!

So to recap, there are two ways you can solidify your pieces of music that you can already play.

One is to play with raised fingers. Use the score and a metronome with no pedal. Really delineate and articulate everything with precision. Sink in and feel every finger. Then there’s the polar opposite. Play everything a little bit faster than you usually do. See what places you can’t keep up and focus your practice on those sections. These are two tips 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