Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you about five misleading piano terms. You may have heard some of these terms and wondered what they mean. They may sound scary and you want to know more about them. Let’s dive right in!

The first term we are going to discuss is “Gray Market Pianos”.

When you hear this term, it sounds pretty foreboding, almost like it is something illegal! Truth be known, gray market is a term coined by Yamaha North America. Yamaha North America is the sole distributor of Yamaha pianos on our continent. Every new Yamaha piano that is sold in North America must go through this corporation. Yamaha North America is separate from Yamaha International.

Japanese culture doesn’t like used things so much. As a result, there’s a glut of gently used Yamaha pianos in Japan that nobody wants to buy. Enterprising business people refurbish the pianos and then redistribute them in the United States as used Yamaha pianos. Naturally, Yamaha North America is not too happy about this because it cuts into their market. They do everything they can to try to squash it.

What are some of the things they say about them? There is certainly some truth to their claims! Yamaha wasn’t really an export company until the 1970’s. When you are talking about really old Yamaha pianos, you might wonder if they were made to withstand a wide range of climates. At one point, they weren’t exporting pianos much at all. So, this could be an issue with extremely old Yamaha pianos.

Yamaha talks about the “climatization” of their pianos for the North American environment. Here in Orange County we are about ten miles from the beach. The beach is about ten degrees cooler and probably has about 20% higher humidity than what we have here. That is just ten miles away! Go an hour and a half inland and you could be in the hot desert or cool mountains. There are many climates right around us!

What about the whole North American climate? It is kind of funny to say that pianos are climatized for North America because the climates are so diverse. Any late model Yamaha, from the 1970s and beyond, are made to handle climates all around the world.

What is another problem with buying gray market Yamahas? If a technician is ordering parts for a Yamaha piano and they provide the serial number to Yamaha and it doesn’t match one they sold, they won’t sell the parts. Is that a big problem? Not necessarily. There could be other serial numbers that could be referenced in order to get the parts. Also, Yamaha is not the only parts manufacturer and their parts aren’t so unusual. So, there are parts available from Abel, Renner, and other companies that can be a good fit. You just need to be aware that this is what gray market is all about. Should you be concerned? Possibly, if it is an older Yamaha, but otherwise you should be in good shape.

Another similar parallel comes from Steinway. Steinway’s biggest competition you’d think would be Yamaha, Kawai, or Bösendorfer.

The biggest competition Steinway has is used Steinway.

Why? When you go to a Steinway store you see an $80,000 piano. When you look on the used market you see similar Steinways for half the price or even less. This is obviously a big concern for Steinway. They have coined a term called, “Steinwas” claiming that if you have a Steinway piano and one or more parts on the piano were not made by them, it’s no longer a Steinway piano. Is there truth to this? Yes and no. Sometimes it can be true. There is nothing more crushing than to see badly restored Steinway pianos tarnishing their good name. I applaud them for trying to keep that high standard! However, there are also stupendous rebuilders of Steinway pianos. Steinway does rebuild pianos but they can only do a limited number of rebuilds every year. For all those used Steinway that have been made for over a hundred years, there are really high-quality rebuilders out there. They may choose to use Steinway parts, and you might wonder why they would use any other parts in the restoration. To save a few bucks here and there? Not really. I can imagine there might be a few inexperienced rebuilders who think they can get away with using a cheaper part. But the extra labor it would take to make that part work can negate any savings by selecting the wrong part. The real reason why a rebuilder would use different parts is that Steinway is not a parts builder. In fact, the only parts they have on hand are for the pianos they are currently building.

On a side note, Steinway pianos manufactured in Germany have always utilized action parts manufactured by the German company Renner. Steinway recently bought Renner Corporation.

Imagine a Steinway M from the 1920s that needs a new set of hammers. An inexperienced rebuilder might just order the set from Steinway thinking it has to be right. However, the specifications of Steinway pianos vary over the years. It may or may not be the exact right weight and geometry for a specific piano from the past that you are trying to rebuild. The good news is that there are many companies that make very fine parts. Renner and Abel (to mention just two companies) make great hammers. There are a number of companies that make great piano parts.

The critical thing is using the right part for a specific piano.

Sometimes you go into a store and you wonder about a piano and the salesperson might tout a piano with an “all-spruce soundboard”. You probably think that spruce is great. In reality, “all-spruce” is a clever way of not indicating to you that the soundboard is not a solid spruce soundboard, which is the preferred board for high-quality pianos.

What is important is to have a “Solid Spruce Soundboard”.

A soundboard may be, “all-spruce” but utilizing laminated wood which is simply plywood. What is wrong with that? First, let’s talk about the benefits of laminated soundboards. A laminated board is much, much more durable just like plywood is less likely to crack than solid wood. Why is that? Because the grains are put layer upon layer crossing each other with cement between. It is almost impossible for a crack to go through because each layer of wood is positioned at 90-degree angles to one another.

A laminated soundboard is stronger than a solid spruce soundboard.

The bad news is that laminated soundboards lack the rich tone of high quality, solid spruce soundboards. The vibrations are not as rich and complex. You’re better off with a solid board unless you live in a harsh climate. If you hear the term, “all-spruce”, you now understand the implications.

Another term you’ve probably seen is the “Going Out of Business Piano Sale”.

Many of these are legitimate. When you consider that in 2005 there were over 1,200 piano stores in the United States, and today there are only around 150, you can see that many stores have actually gone out of business. However, this is the way it generally works. A store can’t keep running with depleting inventory and have enough money to cover operating expenses. When they get down to two pianos, how could that possibly work? It can’t. Usually, a going out of business sale entails partnering with another store that feeds additional inventory so their store can function as they sell out their inventory. There is a lot of hype that goes into these sales and sometimes they are very successful with tremendous amounts of promotion. It is not necessarily a bad place to buy a piano. But you should be aware that the sale may not be as desperate a situation as it appears to be. Worse yet, sometimes you see people taking advantage of these situations. A store might do a going out of business sale for months or even years! Sometimes they will even change names and do it all again. I’ve seen it happen and it gives a bad name to the whole piano industry.

Lastly, and related to this, are the famous college piano sales.

You’ll see these all the time. You might wonder how they have so many used pianos to sell. You might remember a similar sale just last year. Here’s how it works. College piano sales are a partnership among a manufacturer, a store, a distributor, and a finance company. They go to a school and offer to put several free pianos in the school for a year in exchange for a sale the following year that is promoted to the entire mailing list of the college or university. It can make for a very potent event.

The vast majority of the pianos at college sales do not usually belong to the college.

This is actually a good thing! If you’ve ever seen what school pianos look like, they are usually thrashed! Because they get used so much, the cases get beaten up and the pianos can be worn out. Indeed, the pianos at college sales have been there for just a year, usually kept in studios, not in practice rooms. These are the college pianos that are sold at these events. That just might be a handful of pianos. Yet, you have a whole school full of dozens of pianos that come from a store who is trying to capitalize on the event by selling a wide range of inventory to the staff, students, and alumni of the school. Is it a good place to buy a piano? Possibly. If you know exactly what you want and you don’t want to go through the negotiation process, it is a fine fit. However, it is definitely not the place to go if you want to try out pianos and have any kind of relaxed way of exploring different instruments for yourself. It is a high pressure, quick, know what you want, here is the price, and buy it situation. While it is not completely deceptive, you should understand what it is. It is mostly a good situation since you are not buying abused college pianos.

Those are five things that are not what they appear to be. I hope this has been helpful for you. If any of you are piano shopping or have piano questions, LivingPianos.com is always here as a resource for you. Thank you so much for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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This is Robert Estrin at LivingPianos.com, Your Online Piano Store. Today’s question is, “Can you play the piano with a pencil?” Now, that sounds like a crazy idea, and indeed, it is a little bit wacky. But I’m going to show you some interesting things that have profound implications about producing good tone on the piano. Many of us have been trained to utilize arm weight on the piano with proper finger and hand position and you may wonder, “How important are all those things for producing a good sound on the piano?” Well, of course, they’re important. But ultimately:

Your ears are the most important thing for producing good sound on the piano.

So, the first thing I’m going to do is a demonstration of playing the piano with a pencil! I remember one time somebody showed me this little trick. You put the pencil between your fingers, and voila: You can play chords on the piano easily. Well, that’s a party trick for people who don’t play the piano. What I’m going to show you today has much more profound implications.

Growing up, I studied piano with my father, Morton Estrin, and truth be known, I didn’t practice as much as I should have! Yet, I always wanted to strive for certain sounds I heard in my head. So, even though I didn’t have the power or technique with my naturally weak fingers since I didn’t practice a great deal, I would contort sometimes in order to get the sound I wanted in spite of my weak floppy fingers. The joints would bend the wrong way. It was a nightmare. I don’t know how my father put up with me! Nevertheless, and particularly, in slow movements, I was able to achieve some really gorgeous sounds even with my faulty technique, which suffered from a lack of strength. I hadn’t developed my technique and had really small hands as a child. So, the question is, “What can you do if your technique isn’t up to the music you are playing?”

What do you suppose would happen if I were to play a Chopin prelude using just a pencil?

I wonder if it’s possible to produce a good sound without even using fingers! Well, I’m hearing this piano, which hasn’t even been prepped yet. So, if I can get a halfway decent sound out of this piano using a pencil, it will really show something. Let’s see what happens here. Let’s use the Prelude in E minor because it is slow enough to have a fighting chance of playing it! There are some pieces that are way too fast to play with a pencil. But if I can achieve a good sound with a pencil, we’ll talk about what that means. You can listen to the Chopin performance on the accompanying video.

So, what is the point? The point is, if you hear something, that is the single most important aspect of technique not just for the piano, but for playing any musical instrument. You must hear something in order to create it. So, it’s not just a matter of going into certain positions with specific fingers and hand positions.

The sound must come first.

The sound is not just primary or secondary. The sound you are after is everything in music! Now, that isn’t to suggest that you shouldn’t try to develop a solid technique. Being able to handle things in relaxed manner and being able to control your music without causing damage to your hands requires a good technique. There are many reasons why you want to develop good technique. But remember, the lesson for today is:

If you hear something, that is the most important aspect for creating the sound you are after on the piano or any musical instrument.

I hope this has been interesting for you. Again, I’m Robert Estrin here at LivingPianos.com. Thanks so much for joining me.

This is Robert Estrin with LivingPianos.com, Your Online Piano Store with a viewer question. “Why don’t they make pianos like they used to?” So many of the magnificent, American pianos from years ago are just names stenciled on the front of Asian production pianos today. Names you don’t even hear about anymore like AB Chase, Knabe and Chickering were wonderful pianos years ago. There were well over a thousand companies producing pianos in the United States and dozens of companies were making stupendous pianos! You might wonder why they don’t make pianos like they used to.

Have you ever gone downtown and seen a beautiful old car and asked yourself, “Why don’t they make the ‘57 Chevy anymore? It’s such a cool car! I wish they would make Corvettes like they used to!” With cars, it’s pretty obvious. As technologies move on, mileage and safety standards have generally made cars better. But what about pianos?

Have pianos improved?

Not necessarily. However, they do make pianos the way they used to, just in very tiny numbers. Steinway and Mason and Hamlin are both manufacturing a limited number of pianos in the United States very much like they used to. However, Mason & Hamlin is utilizing newer technologies in their actions using synthetic materials in place of traditional wood parts. There are some new rigs and new robotics utilized in manufacturing, but for the most part, American pianos utilize Old World style of wet sand cast plate, hardwood rim, and a tremendous amount of handcrafting. Indeed, many of the great German and other European piano manufacturers from over a hundred years ago are still building pianos like they did centuries ago with the addition of some computer-aided design and manufacturing techniques for more exacting standards of production.

The vast majority of pianos today are made in Asia with a very different methodology from American and European pianos.

You might wonder why. Just look at the difference in the price of a Bechstein or a Steinway compared to a Kawai or a Samick. Asian companies produce pianos that are fully functional and quite good for a fraction of the cost of hand-crafted pianos by utilizing different technologies. Take a company like Pearl River. There aren’t too many companies like them!

Pearl River made over 140,000 pianos last year!

It’s a mind-boggling number. There is no way they could be producing pianos the same way Steinway does. Steinway made a little over a thousand pianos last year. It is just not a scalable manufacturing process.

In order to be able to produce a large number of pianos on a consistent level, it is necessary to be able to utilize newer technologies and newer materials in order to accomplish that. Is this a bad thing? Not necessarily. If you want that Old World style of piano building, they are available if you’ve got the bucks to pay for them. But, vast amounts of resources have been opened up to people who couldn’t afford those pianos. Some of the modernization and new techniques of making pianos in a way they didn’t have before opens up a whole segment of the market to pianos. In China, where they bought 450,000 new pianos last year, obviously those weren’t mostly hand-built instruments. It would be impossible!

That is why they don’t make pianos the way they used to. It opens up markets at different price points. Yet, those Old World style pianos are still available in very small numbers for very high prices. I hope this has been interesting for you. I’m Robert Estrin and this is LivingPianos.com.

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This is Robert Estrin at LivingPianos.com. Today’s subject is playing the piano to the room. What is meant by that? The room you’re playing in can be as important to the sound and the approach to the keyboard as the piano you’re playing! I remember, for example, in high school there was a seven-foot Baldwin semi-concert grand piano that was kept to the side of the stage in an incredibly echoey room. It was almost deafening playing in there! I practiced there whenever I had a chance. Then it would come on stage with the curtains closed. It was a completely different sound and I had to approach the keyboard differently in order to project the sound properly. Then when the curtains were open, I could hear the sound project into the hall. It was a fairly live hall. So, it was important not to use too much pedal. Otherwise, the sound could get muddy. In fact, you may have to adjust the tempo you play your music to suit the acoustics of the hall. A hall that is very reverberant can get muddy and you may have to take more time in order for the audience to hear things clearly.

Playing to the room is something that all instrumentalists have to deal with.

So, as pianists, we have a double whammy. We have to adjust to the piano, and we have to adjust to the room! But any other musician, whether they play violin, flute, trumpet, clarinet as well as singers have to figure out how to play to the room, to project a sound, and to reach the last row in the audience.

It is necessary to create the appropriate sound for each specific space.

Certainly, if you’re playing in a living room, you don’t want to blow people out of there with too much volume! So you want to temper your sound to match the room, always using your ears. Practicing isn’t about just molding one performance. It’s about being in excellent shape on your instrument so you can instantly create the right sound for that specific piano and room at that moment.

Thanks so much for the great questions! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store

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Hello, I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Store. The question is, “Are there new musical classics being composed today?” The people I’m involved with, for the most part, have a great appreciation for the classics. Classical repertoire has endured centuries, and that might make you wonder, “Are any classics being written today?” This is a really tough question. Think about this. If you go way back to the time of Bach and Mozart, they didn’t necessarily know that they were going to be classics. They didn’t know their classical compositions would be studied centuries after they were written. In the thick of it, sometimes the composers who are immensely popular don’t live on and they’re not particularly important in the realm of history. Conversely:

There are some great composers who in their day were obscure or not highly respected.

Styles change. Even Johann Sebastian Bach near the end of his life while writing some of the most magnificent works, had fallen out of favor. The new classical era had begun and the flourishing complexity of the Baroque music he was writing was less in vogue than the music his sons were writing! Can you believe it? I will say this:

There are absolutely pieces being composed today that will live on for centuries.

Predicting what those pieces are is very tough to do. Who would have predicted, for example, in Beethoven’s life that Beethoven would be celebrated centuries later? In the 19th Century, there were hundreds of composers. Who could have predicted who would be the ones to live on in history and who wouldn’t live on? We’re living through a new era. Great music of all time can sometimes be found in unexpected places.

Consider the impact of technology on music.

In the time of Bach, the piano wasn’t even invented yet! Centuries later when the piano was more developed, there was a flourishing of music that couldn’t even have been conceived earlier. At one time, the symphony orchestra didn’t exist! The concert hall had not developed yet. We’re living through a time now with computer technology and some of you might not like the whole idea of computer-generated music. But it’s just a tool!

We can’t begin to imagine how people are going to be working with these new tools in the coming decades and centuries.

We’re definitely living through some tremendous music that’s being written that combines different elements of styles of music written all over the world. The entire world’s music is just click away! Composers can hear each other and develop music that combines elements that were never combined before. Eastern music combined with Celtic music. Anything’s possible today! What is going to be the great music that will live on? It’s hard to say, and we can talk about that. I would love to hear from any of you who has ideas about what music are truly classics that are being written right now. Thanks for keeping the great questions coming in. Again, I’m Robert Estrin here at LivingPianos.com

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Hello I’m Robert Estrin here at LivingPianos.com. The question today is, “Is a spinet piano ever the right piano for you?” Indeed there are times when a spinet piano is the best piano! How can this be? Did you know:

Spinets aren’t even made anymore.

What are spinets? Spinets are very short, even shorter than regular uprights or consoles. They can be only three feet tall! You might wonder how they pack a whole piano in there. It is not easy! No one makes spinet pianos anymore because they were deemed to be inferior. Why? Because in order to fit the action inside, they had to cut the keys in the middle so that the keys ended right beyond the fall board and connected to the rest of the action below. It is referred to as an “indirect blow action”, or “drop action”.

Spinet pianos are generally inferior in response.

Although some spinets were better than others. What comes to mind is the Baldwin Acrosonic which is one of the best spinets ever made. It had some technologies that made it a little bit more precise than other spinet pianos. Regardless, spinets don’t have the same substantial feel as other uprights much less grand pianos. Yet, that is why it could be the right piano for you!

How can this be? Generally, you practice piano all week long and then you go to lessons, recitals, friends’ houses, or church to play. You want to make sure your piano translates to other instruments. Spinets are much easier to push the keys because they are smaller. It is easier to play overall. It is not going to prepare you or develop the strength to play other pianos. But suppose you have hand problems like arthritis. You may be limited in how much you can play the piano because you experience pain. A spinet could be the perfect piano for a person in that kind of situation.

While spinet pianos are generally not the best kind of instrument for most people,

in certain circumstances when you want an easier than normal piano with less volume, a spinet could be the perfect piano for you!

That is the long and short of it. I bet you didn’t expect that today! I’m Robert Estrin here at LivingPianos.com Your Online Piano Store.

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Hello, this is Robert Estrin from LivingPianos.com, Your Online Piano Store. The question today is, “Can an out of tune piano have more sustain than a piano that is perfectly tuned?” The simple answer to this question is, believe it or not, yes! Here is an explanation of how and why this is.

If you look inside a piano you know that all the notes have more than one string except on the lowest notes. Most notes have three strings. If you know something about the acoustics of vibrating strings, you understand that if they are vibrating perfectly with one another you’ll get a certain level of sustain. But if one string is just ever-so-slightly out of tune, there will be a slow wave created. If that slow wave is about the same length of time or slightly longer than the sustain of that note, it will actually enhance the sustain of the note more than if it was absolutely dead-on in pitch!

I once talked to a piano tuner who claimed that they purposely de-tuned the piano precisely to get the maximum amount of sustain. I’ve talked to other piano tuners who said that this was total nonsense! My feeling is this: striving to tune a piano is hard enough. Once it is in tune, it is going out of tune little by little. Even if you tried to make the piano perfectly in tune, with every unison phase locked in perfect tune where they didn’t drift at all, in a very short amount of time, some of the notes will still drift slightly sharp or more likely flat. This would cause that slight detuning which could add sustain as long as the tuning doesn’t become so great that the wave cycle is shorter than the length the note sustains naturally.

Indeed, a slightly out of tune piano where the wave cycle is less than the sustain of the notes will sustain longer than a perfectly in tune piano. However, I wouldn’t try to de-tune your piano to get this effect. Believe me, it will de-tune itself soon enough just from playing it! Thanks for all the great questions and keep them coming in to:

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I’m Robert Estrin and this is LivingPianos.com. The question today is, “Why can’t all music be profound?” Wouldn’t that be great if everything you listened to was enlightening? Is that possible? Is that even desirable? Naturally, there are many different purposes music serves. Going to concerts and having a truly uplifting experience is certainly a very important aspect of music, but what about parties? What about dancing? There are times when profundity is the least concern when listening to music. You just want to have something that you can move to, something that feels good. Let’s focus for a minute on concert music.

Should All Concert Music be Profound?

Before I answer this question, I’m going to bring up a parallel. Have you ever seen a band perform and they were playing with really high energy, fast and loud? At first it’s like, “Wow, this is impressive.” But as the night goes on, everything they play is fast and loud. After a while, you end up tuning out the music, and nothing seems energetic at all! How can this be? The energy level becomes your new baseline. Let’s say, you go to the same club on a different night with a different band playing, and this band plays with extreme dynamics. They take the music up and then they come down – way down. They play whisper-quiet, and then it comes up again. It’s enriching! So what is the lesson here?

Something Can Only be Exciting if Something Else is More Relaxed.

The same exact truth is evident with how profound a piece of music can be. More than that, if a performer tries to make every phrase of a piece of music profound, nothing is profound. It becomes labored and self-indulgent. You have to let some music speak naturally. It’s the places where you focus attention that molds a performance. This way, the entire work will have a profound nature, not because every single phrase is played to the nth degree of what can be done with the music.

Great composers and great performers understand this, and they bring out parts of the music that draw your attention at just the right moments. Not everything is profound, but when you get done listening to the piece, you’re left with something really meaningful and special that stays with you. That’s why all music can’t be profound.

If Everything is Profound, Nothing is Profound.

This is applicable not only for composition but also in your musical performance.

Thanks for joining me once again. This is Robert Estrin at LivingPianos.com, Your Online Piano Store.

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This is Robert Estrin here at LivingPianos.com, Your Online Piano Store, with a question: “Can a Classical Pianist Play Popular Music?” If any of you have seen accomplished concert pianists playing Beethoven, Liszt, and Ravel, and you think, “Oh man, they can play anything!” Is that true? There’s an interesting story of a time when my father had a party in his studio, and he asked one of his former students, a Julliard graduate in piano performance, to play, “Happy Birthday”, and she couldn’t do it! She didn’t know how to even begin to play the simplest music by ear. So, the conservatories are really good at training people to be concert pianists and even collaborative pianists playing with other musicians, being able to read music, being able to perform at a high level, but not so much how to play other styles of music.

Consider this: If a classical pianist got engaged to play an event, and they wanted a bunch of popular music, certainly they could go out and get all the sheet music and be able to play it. Right? Well, yes. However, if you’ve ever played sheet music, you know the limitations and the shortcomings of sheet music. Sheet music is not something that the composers of popular songs wrote and then performed. The sheet music came afterward. And the people who wrote the songs aren’t even the ones who wrote the sheet music! They just try to monetize the music as soon as they can to get it out there.

Making it even tougher is the fact that the sheet music is a catch-all for everyone. In other words, if somebody wants to play it as a piano piece, they can do it. If they want to play it as a song, singing along with the piano part, they can do that. And they even have the chord symbols and sometimes even the guitar tablature to help all different sorts of people play the songs.

Sheet music attempts to be all things to all people.

But if you were to play, note for note, the sheet music, a lot of times, it can be extremely cumbersome because it’s not something that anybody necessarily played before. So in order to make sheet music sound good, a lot of times you have to rearrange it. So, if somebody has never done that before, they may have a hard time. Plus, a great deal of popular music is groove-oriented in a way that classical music rarely is. And if somebody has never played rock, blues and other styles like that, they may sound rather bland trying to play popular songs from sheet music.

So, a well-trained pianist should be able to play anything, but they would have a very tough time being able to assimilate in a rock band or a country band if they’d never done that before. Even people who go for post-graduate piano performance degrees don’t necessarily know how to do the simplest things, like play “Happy Birthday” by ear!

So, if you have an engagement and you want a pianist, you could certainly call upon a classical pianist. But ask them if they’ve ever done anything like that before. And listen to what they can do with the music. Depending upon the nature of the music you have in mind, they may be able to do handle the music on a greater or lesser level. And you could find that out before any important engagements that you have classical pianists coming in for.

I encourage all of you with a classical backgrounds to get your feet wet playing popular idioms!

You’ll enjoy it and it may open up new vistas for you musically. Not only that but if you get adept at playing by ear, it can save your neck when you’re playing a classical performance. If you find yourself over the wrong keys, if you have a momentary memory slip, playing by ears can get you back on track in a snap if you’re good at playing by ear! So it has many benefits for you, and not the least of which is enjoying other styles of music. So go for it!

Thanks for the great questions. Again, I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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