Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What Are Living Pianos? It sounds like a science fiction story, doesn’t it? Artificial intelligence enables sentient instruments to compose, perform, and even teach music autonomously. Or maybe it’s pianos that are bioengineered to grow and evolve along with the player! There are all kinds of possibilities. But it’s actually something much more terrifying than that. That’s why Living Pianos is committed to bringing new life to old pianos!

Did you know that many pianos end up in landfills?

In Minnesota alone, hundreds of pianos end up in landfills every year. As you’re watching this video, pianos are being thrown in landfills all over the country. It’s a horrifying thing to contemplate. You might wonder why this happens. Well, there’s a huge price gap between hand-built American pianos, which are mostly the ones that end up in landfills here, and Asian production pianos. So when pianos wear out, people will replace them with far cheaper Asian production pianos or even digital pianos.

That’s why Living Pianos specializes in the sale of restored, hand-built pianos, which are so rare today.

There are other companies that do this, but most of them specialize in Steinway because Steinway commands more money in the used market. But we’re not prejudiced against other brands. There used to be hundreds of American piano companies, and there were several dozen that made absolutely stupendous pianos! Of course, Mason & Hamlin pianos are still built outside of Boston. Baldwin was the last casualty of the American piano industry. There are now Asian production pianos with the Baldwin name on the front. But the Artist-Series Baldwins that graced concert halls all around the world are a thing of the past.

We not only restore Steinway, Baldwin, and Mason & Hamlin pianos but also other great American pianos like Knabe, Chickering, Sohmer, and others. You can end up with a piano that has tremendous value instead of having them end up in a landfill. European pianos like Bechstein and Blüthner are also great candidates for restoration. Of course, they’re quite rare in this country.

Knowing which pianos to restore and which ones to stay away from is critical.

You can’t always get good results out of older pianos. One of the really difficult things is restoring pianos that have had some restoration along the way. If you have everything original, even if everything is worn out and in bad condition, at least you know the original specifications. It’s a huge challenge to match the original specs of pianos that have had work done, particularly if the work was subpar. Even with Steinway, you might think you could just order Steinway parts. But it’s not so simple. Steinway has changed their specifications over the years. You have to know exactly what the specification is for each of the almost 10,000 parts of a piano to restore them properly!

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What is the most important finger for playing the piano? Of course, all of your fingers are important, and they each play a vital role. Imagine playing the piano with less than ten fingers. It would be really hard! It’s hard enough with all ten fingers. But there’s one finger that really is pivotal for playing the piano. Not only that, but it is arguably the most important finger that you have for everything.

The most important finger is the thumb.

Why are the thumbs so important? Naturally, being able to grasp objects with the thumb, because it’s opposing the other fingers, is incredibly important. And it’s in no small part how civilization developed. Our thumbs enable us to utilize tools. The thumb gives you control. In piano playing, there are three aspects that make the thumb vitally important. The thumb is your strongest finger. The third finger is pretty darn strong, but not like the thumb. Instead of having three bones like your other fingers, the thumb only has two. And it has a unique set of tendons and muscles.

How does this impact piano playing?

First of all, when playing scales, arpeggios, or any passages that go up and down the keyboard, because the thumb has the flexibility of being able to oppose the other fingers, you can use the thumb to cross other fingers. It can go under the hand to reach for the next note. Imagine trying to play scales without your thumbs. It’s really hard because crossing over fingers without using the thumb is awkward. Sometimes you have to do that when you’re playing counterpoint. You might have to hold a note with your thumb while other notes are being played on top. If the thumb is already engaged in playing a note, it can be necessary to cross with different fingers.

The thumb is vitally important for playing octaves and other larger intervals.

Unless you have very large hands, you probably can’t play an octave with your other fingers. Even if you had an extra finger like your other fingers instead of a unique finger like the thumb, you wouldn’t be able to get the control and power of the thumb. It’s the magic of the arch! You can get the power of the arch of the whole hand with the thumb. It’s the power of the arch that gives you control when playing octaves as well as chords. This enables you to get the balance you want. You utilize the rocking of the hand from the left to the right to balance the tone from one side of the hand to the other side. You can get a certain amount of that with your other fingers, but because the thumb has unique musculature, it enables you to achieve superior control. So when you’re playing octaves, for example, you can get the balance you want by how you distribute the weight of the hand. That’s also what enables rapid, powerful octaves.

That’s the power of the thumb!

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to talk about the difference between playing Bach and Mozart. They are two great composers. You hear their music all the time. Many pianists play both composers. There are some fundamental differences in the approach to playing Bach versus Mozart, which we’re going to discuss today.

The fundamentals come down to two criteria: the period styles and the instrument that they wrote for.

Bach lived from 1685 to 1750. Interestingly, he never wrote for the piano. Did he ever play the piano? Well, yes, there are records of him having played a very early incarnation of what was a piano. What distinguished the piano from other keyboard instruments of the age was the fact that the piano could play loud and soft, which is how it derived its name, the fortepiano or pianoforte which was later shortened to, the piano. Bach never specifically wrote for the piano. In fact, he never wrote for any particular keyboard instrument other than the organ. All of his keyboard music, other than his organ music, was written simply for clavier, which means, “keyboard”.

What instrument did Bach play?

Bach played the clavichord. It was his favorite keyboard instrument because of its expressiveness. On the clavichord, the key mechanism would be in contact with the string to impart vibrato and other expressive elements that the harpsichord could not do. Yet the harpsichord was the most popular keyboard instrument in performance because of its robust tone. The clavichord was so quiet that it really wasn’t a performance instrument. So we can presume that most of Bach’s music was performed primarily on the harpsichord. And the harpsichord, as I said, didn’t have dynamics. You could push the keys with great energy or push them lightly, and you would get the same volume. And this is key to the type of music written for the instrument: contrapuntal music, music with intertwining melodies. The harpsichord had a strident sound that cut through, which worked very well with chamber music. The clarity of tone allowed the counterpoint to come through.

Mozart was born in 1756 and lived only 35 years.

During Mozart’s life, the fortepiano had developed somewhat and gained popularity. So Mozart did write for the piano, although he played both the harpsichord and the piano. But his music took advantage of the fact that you could play loud and soft, so different parts could be played dynamically with the two hands.

Let’s talk a bit about the stylistic differences between Bach and Mozart.

Bach lived during the Baroque era, which is noted for its counterpoint. I keep using that word. What does it mean? It means that you have separate lines of music intertwining with one another, so you get music where everything has equal importance between the hands and the different lines. All of the lines have equal prominence. Bach wrote using counterpoint. Contrast that with Mozart, where you clearly have melody and harmony. For example, in his famous C major, K 545 Sonata, you have a melody in the right hand and broken chords in the left hand. There’s not much going on in the left hand, but you have a beautiful melody in the right hand. So you have a clear melody against harmony. This is in no small part because the instrument itself was capable of playing different dynamics in different registers.

As the instrument became more capable, the musical form evolved.

The form had evolved from counterpoint, the interweaving of different lines, like a tapestry of music, to more structured music with different sections. The sonata allegro form, with its exposition, development and recapitulation, was very structured formal music where different sections were clearly delineated, rather than the intertwining of different lines in the Baroque era. That’s why the performance practices are so dramatically different. In a fugue, you want to clearly show the counterpoint and the important lines of subjects, the opening motif of a fugue. For example, you want to hear a clear delineation whenever the opening statement of a fugue returns. Whereas in a sonata movement, you want to show the themes that come back at strategic places within the movement. The structure is of paramount importance. You can hear the melody clearly in one hand and the accompaniment in the other hand. It’s the delineation of the structure of the work that makes the performance alive and digestible for an audience. Where, in the case of Bach, it’s the counterpoint and bringing out subjects strategically in fugues or inventions so the listener can make sense of the cacophony that could result if those subjects were not delineated clearly. Whenever the subject recurs, you bring it out so that the listener can make sense of the complex score, and you can bring clarity to the counterpoint. Whereas in Mozart, it’s the delineation of each macro section within the work that must be clear to the listener so the overall structure of the music can be appreciated.

While Mozart did write for the piano, it wasn’t like a modern piano.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to tell you how three plus three equals five. You probably clicked on this because you thought it was either a mistake or that I’d lost my mind. Well, believe it or not, it’s neither of those things! I’m going to show you how three plus three equals five in certain circumstances.

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: Why are Steinways so expensive? Did you know that even a baby grand Steinway is over $80,000? Concert grands are over $200,000! What could possibly make pianos so expensive when you can get other baby grands for around $10,000? Is it all marketing? Well, here’s the truth. And everything I’m going to tell you today doesn’t just apply to Steinway. It applies to other American pianos, like Mason and Hamlin, as well as European pianos such as Blüthner, Bechstein, Fazioli in Italy, Bösendorfer in Austria, and even hand-built pianos from Yamaha and Shigeru Kawai in Japan.

Hand-built pianos have many different technologies.

In the case of Steinway, American pianos, and many European pianos, the way the plates are manufactured is a much more time-consuming task. Instead of using a simple vacuum mold process, which is quick and precise, they do it the old-school way of wet sand casting. The benefit is that the metal is denser. It takes a long time to cure the metal, so it’s much more labor-intensive and time-consuming. There’s also the choice of wood. It’s much more expensive to find fine hardwoods. Sourcing the finest soundboard material, which is the heart and soul of your piano, is no easy task. They search the world over for woods that have very fine grain, which is noted for the vibrancy and sustain of the sound. The craftsmanship of these instruments requires a great deal of handwork. All pianos require handwork, but when you’re talking about hand-built pianos, the meticulousness that it takes to craft these instruments is on a higher level. It can take a year to make each piano!

Hand-built pianos are not mass-produced.

You have companies like Pearl River, which is the number one piano producer in the world by volume. They make over 100,000 pianos a year! Contrast that with Steinway, who makes maybe ,2500 pianos a year. You can see how the economy of scale enters into this equation. So is there anything you can do to be able to get a piano of that quality and not have to pay such a fortune? I have another video about this. You can check out how you can get a Steinway for less money if that’s something you’re interested in. Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: How can you afford a Steinway? If you’ve seen some of my previous videos, you know that a new baby grand Steinway costs over $80,000. So you might think it’s just insurmountable to be able to buy a Steinway. Well, I’ve got some good news for you, as well as some tips on how you can get a great piano without necessarily breaking the bank.

Be aware that there are other great pianos in the world.

Steinway owns the concert market, with over 97% of concert pianists playing Steinway because it is the de facto piano that’s available worldwide in concert halls. So most touring artists play Steinways, unless they can travel with their own pianos. But there are many other great piano brands, such as Bechstein, Bösendorfer, Blüthner, Fazioli, Mason & Hamlin and quite a few others. So, there are many other great pianos you might want to consider. While many of these pianos cost as much as Steinway, or even more, dealers will sometimes discount some of these other brands. Steinway holds their price much firmer because they can. There are only a limited number of them in the world, and they’re highly sought after.

The used market is a gold mine if you can find the right instrument.

Years ago, there were hundreds of American piano companies. Many of them made great pianos, and you can get them for a fraction of what they’re worth. For example, Baldwin was in the concert market, and Baldwins cost as much as Steinways when they were new. But in the used market, you can get a great Baldwin for far less than a Steinway and have a great piano. But let’s get back to Steinway.

You have your heart set on Steinway, and only Steinway will do. How can you possibly afford one?

Once again, the used market is your best option, but you have to be very careful. In fact, Steinway doesn’t even let many people put the Steinway name on the front of rebuilt or refinished pianos. Make sure you find someone who actually plays so they know what the piano feels like, what it sounds like, and if it’s really going to be a Steinway-quality piano. Just having the name on the front isn’t enough.

Another important thing is when you buy a piano.

There are certain times when the prices are just lower. For example, at Living Pianos, on Memorial Day, we drop our prices. Some of our pianos are less than half the usual sale prices, which are already a fraction of the cost of new pianos. We do this to clear out inventory and go on a buying spree in the summer. So you can sometimes get phenomenal deals on Steinways and other pianos if you buy at the right time.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you how to create beautiful melodies. And what melody is more beautiful than Clair de Lune by Debussy? I’m going to show you how to approach this piece, but this will apply to almost any melodic music you play. There are countless techniques you can employ on Clair de Lune, but today I’m going to show you something I learned from many years of living with my wife, Florence Estrin, who is a magnificent flutist. The way she uses the air in order to capture the phrase and to have a melodic line that carries the listener is something that I’ve literally lived with for decades. I want to share it with you because it translates to piano playing.

Having experience with a wind instrument, singing, or even a bowed instrument can be enlightening for a pianist.

After all, you’re playing a percussion instrument and trying to get a melodic line is a great challenge. You can better understand what’s involved playing a melody on an instrument that’s capable of a sustained line. So I’m going to play Clair de Lune for you now, just the beginning part, and then I’m going to explain what I’m doing to create this beautiful singing quality to the melody.

Watch the video to hear the demonstration!

Clair de Lune is such a gorgeous piece. Being in rhythm on this is vital to capturing the mood. The worst mistake you can make with Clair de Lune is to take too slow a tempo and not holding the long notes long enough. The rhythm is not what you might think it is. If you count it, try to count with the very slow dotted quarter notes as the beat since the beat is divided into three eighth notes most of the time, but sometimes Debussy writes two eighth notes to the dotted quarter note. What I’m going to talk about today is creating a flowing line. It’s not just about giving more energy to higher notes, just like you would naturally do with your breath when you’re singing or playing a wind instrument. It’s also about elongating those top notes just a little bit. It’s like how you use a little bit more air on higher notes if you were playing it on the flute and giving a little bit more time on those notes. I hate to use the word time because it really isn’t a rhythmic technique as much as it is filling up the sound, akin to the air on a wind instrument or when singing.

Without doing this, you don’t get the same feeling of serenity.

Take a little bit more time with those long notes. It’s very subtle because if it’s done too much, it would create rhythmic distortion, which would ruin the melodic line. But instead, it’s visualizing in your mind the sound that would be created if this was played on a flute or was an aria sung by a great singer to get that flowing line. You want to fill up those high notes, like you would naturally do if you sang such a melody.

Try this with all the melodic music you play!

I want you to try this, and not just with Clair de Lune. It’s not just about getting louder towards the higher notes, but making sure you ride over the crest of the phrase. Enjoy those high notes a little bit longer so that they can live on and give a nice expansiveness to your musical line. Let me know in the comments how this resonates with you! 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 have a really interesting story for you about how a Pinto blew up my teaching. This is not only an interesting story, but for any of you people out there who have ever thought about having a career or even a side hustle teaching the piano, there will be useful information for you. I’m going to give you a lot of pointers because I have a background in teaching going back literally generations.

My father, Morton Estrin, was a great concert pianist and teacher.

He taught my sister and me until we both went off to conservatory after high school. And in fact, both of us got our teaching career started by learning how to teach the piano from our father and assisting him in his teaching when we were still in high school. All throughout my college years in conservatory, my side hustle was teaching the piano as well as accompanying. So I was no stranger to teaching.

Have Pinto, will travel!

When I graduated from the Indiana University School of Music in Bloomington, Indiana, I very quickly amassed many students. I did this by offering to travel to people’s homes for lessons and advertising wherever I could to get students. Back then, it was classified ads because it was before the internet offered that possibility. No matter where people were located, I would go there .I would figure out how much more I’d have to charge for the amount of time it would take me to drive there.

I went all over the county.

No place was off-limits. I would just charge accordingly. My schedule back then was crazy because I would figure out the exact amount of time it would take to go from one student to the next. So one student might have a lesson starting at 3:15, and the next one might start at 3:55. It was all these odd times. Now, if a student was not able to make the lesson, it would be a disaster because I’d be stuck in the middle of nowhere! Sometimes it was really cold, and that car didn’t have the best heat. The other thing was that back then there were no smartphones with GPS. In some areas, there were no street signs! When it was dark, it was almost impossible to figure out where you were going. Worse yet, if for some reason I had to call a student, I’d have to find a payphone!

My mission was to figure out how to get students to come to me.

I figured the best way to do that was to have a really good piano to entice them. It also added a lot of validity when people walked into my studio and saw a beautiful, brand new Baldwin baby grand piano. We also always looked for houses with a separate entrance to a room so that students didn’t have to march through the whole house and there’d be some privacy. My wife Florence is also a musician, a flutist, so we always looked for houses with two rooms with separate entrances to each one. This was always a huge challenge! But you would be surprised at how many places we found that had two separate entrances that didn’t go through the whole house where she could do her teaching and I could do my teaching without disturbing each other.

If you want to get into teaching, you might consider driving to people’s homes.

Why is this so advantageous? Can’t you just teach at a music store or studio? The problem with that is that many studios now, at least in Southern California, get 50% or more of the money in studio fees! So you go to teach lessons, and the people who own the business that you’re teaching at are making more than you are for the actual teaching! You can make far more money if you’re willing to travel. Plus, people really appreciate the convenience of having you come to their homes. Once you develop enough students and have a following, seek out a place where you can make your own teaching studio. If you have a good instrument, and perhaps recording capabilities, it could be a viable place for people to come to for the benefits they get from studying with you.

I hope this is helpful for any of you who are interested in teaching!

By the way, I teach piano pedagogy. I have a deep background in teaching teachers. I was so lucky to have been taught how to teach by my father from the time I was in high school, and I’m happy to help any of you out there who would like to teach piano. Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about triads. What is a triad? A triad is the most basic chord that exists in music. I’m going to break it down for you, so you’ll have a keen understanding of what a triad is. Simply put:

A triad is a chord containing three notes arranged in thirds.

What is a third? Scales are built diatonically. That means interval of seconds. So each note of a scale is a second apart. If you skip a note in a scale, you have a third. Anytime you skip a note in a scale, it’s a third. In fact, anytime you go from one letter and skip a letter and go to another letter, that is some type of third. Fortunately, there are only two types of thirds that are used in triads. And by the way, there are only two types of thirds that are used in the vast majority of chords. Believe it or not, even sophisticated chords can all be broken down to some type of thirds.

In triads, you have two types of thirds: major thirds and minor thirds.

To make things easy for you, I’m going to explain what they are in the simplest possible terms. Once again, they’re always two letters that are separated by another letter. A major third is a total of four half-steps. So if you start on middle C and count up by four half-steps to E, that is a major third. It’s very simple. A minor third is smaller. It’s only three half-steps. So once again, start on middle C, but this time count up by three half-steps to E-flat. That’s a minor third. That’s basically those are the building blocks of Western harmony, in a nutshell. You can actually figure out just about all chords by simply arranging the notes in thirds. Sometimes they are inverted. I’m going to get to that in a little bit. But first, let’s get to the basics.

You have four possible arrangements.

As I said, a triad contains three notes arranged in thirds. So you have a root, a third, and a fifth. So you have two sets of thirds. If you have a major third on the bottom and a minor third on top, that is called a major triad, for example, C – E – G. If you reverse it and have a minor third on the bottom and a major third on the top, that is a minor triad which would be C – E-flat – G. Could you call the middle note, D-sharp? No. Why? Because all chords are spelled in thirds skipping letters between each note of the triad.

If you have two minor thirds, that’s a diminished triad. Why is it called a diminished triad? Because the fifth has become diminished. Instead of the perfect fifth, which is the fifth note of the scale, C to G, it’s now a half-step smaller C to G-flat. So the triad is spelled, C – E-flat – G – flat. The diminished triad has two minor thirds. Finally, two major thirds is an augmented triad because the fifth has become augmented, C to G-sharp. It has become larger by a half-step. The augmented triad is spelled C – E – G-sharp.

Now here’s where it gets interesting.

If you had, for example, a C-sharp major triad, once again, a major third on the bottom and a minor third on top, you start on C-sharp and go up by four half-steps. What is that note? Is that F? Well, it can’t be F because triads are built in thirds. Thirds must skip every other letter. So it has to be an E-sharp. Why would it be spelled that way? Isn’t that confusing? Quite the opposite. If you saw this written C-sharp, E-sharp, G-sharp in your score, it would look like a triad. If you saw C sharp, F, A-flat, or something of that nature, it wouldn’t look like a chord anymore. You wouldn’t recognize it as a chord. When it’s written correctly, you just see all the notes thirds apart, and it clicks that it is a triad.

You can figure out any major, minor, diminished, or augmented triad using this method.

Just remember they always must skip letters, and there are four combinations. To recap, a major triad has a major third on the bottom and a minor third on the top. Switch it up, and you get a minor triad, with the minor third on the bottom and the major third on top. Two minor thirds make a diminished triad. Two major thirds make an augmented triad. Triads are always spelled in thirds.

Keep in mind that triads are not always in root position.

That means that the root of the chord isn’t always on the bottom. So if you had a C-major triad and the E was on the bottom and the C was on top, this is still a C-major triad. How do you know this? You take the letters and arrange them in thirds, and that’s how you find the root of the chord. Understanding this will help you figure out harmonies, learn music, read more effectively, and improvise. All of this is great practice for you! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.