Can You Start Playing Piano without a Teacher?

The short answer is sure; why not? However, you really need to ask yourself what your intentions and expectations are. You should also be aware of the style of music that you would primarily want to play. For example: if you want to play some blues o

Practicing slowly is essential in order to develop and maintain a high level of piano playing. There are actually several different components I’m going to discuss when it comes to the magic of slow practice. Even pieces that you have polished and are on performance level will benefit from the reinforcement of going through slowly. This means playing the piece slowly and definitely looking at the musical score, using no pedal and most often using the metronome. Practicing like this will help solidify your memorization and your fingers. I find this is the best thing to do in the final practice for a performance you are well prepared for.

There is another form of slow practice that you might not have heard about before. I find this to be incredibly important; in fact, I discussed this with my wife www.FlorenceFlutist.com and she had the same exact perception of this concept. Let’s say you sit down to practice and have a whole piece to work out. Perhaps it is partially learned but the piece is not up to performance level yet. You could try to power through and keep working trying to improve it. However, a much better approach is to not worry about the whole piece at all at this point. Simply start at the beginning of the piece; the first phrase. Play it slowly – slower than you are used to – until you have complete comfort and satisfaction with that section.

If you do this you will undoubtedly spend a lot of time working out that first section. You will probably wonder how you will even get through the whole piece learning so slowly! You will be very tempted to move ahead to the next section before you should. However, if you stay with it, the results will be remarkable.

Continue working slowly on the first section of the piece until it is absolutely perfect and it feels very comfortable. Then begin working up the tempo with the metronome one notch at a time. The good news is that most sections of the piece will not require such intense practice and you will get them on a high level without spending much time at all. However, there will be a few sections that will definitely benefit from this slow practice routine. It comes down to the 80/20 rule:

You should spend 80% of your time on the hardest 20% of the music!

Most pieces are not written with equal difficulty throughout. By taking sections that are difficult and practicing them slowly until they become comfortable (and then increasing the speed), your practice sessions will become much more productive. Slow practice is an incredible tool to advance your piano playing. Just practicing a piece slowly and definitely without incrementally speeding it up will be tremendously beneficial. Try these techniques out and see how it works for you. I would love to hear your comments.

Why is slow piano practice so important? Piano Lessons

Practicing slowly is essential in order to develop and maintain a high level of piano playing. There are actually several different components I’m going to discuss when it comes to the magic of slow practice. Even pieces that you have polished and

It’s a scary proposition to think that something you’ve spent thousands of dollars on could not be what it appears to be. Believe it or not, this actually happens in today’s piano market all the time and it’s something everyone should be aware of. Thankfully, figuring out if a piano is genuine is actually quite easy if you know what to look for.

Here in the local Los Angeles market there are a lot of auctions that contain pianos. I’ve heard from some people that there have been pianos there that have the Steinway name on them that aren’t actually Steinway pianos at all. Unsuspecting buyers might be bidding up a particular piano with no idea what they are actually getting. This is clearly a fraudulent practice preyed upon unsophisticated buyers.

Many times in auction houses you will not be allowed to fully inspect a piano; you will only be able to look at it from a distance. Luckily, even from a distance you can spot a few things that signal a genuine piano.

The easiest thing to replace on a piano is the decal on the fallboard. You can order pretty much any piano company decal imaginable online. This is done so that refinishers can order decals when they must remove the original. Just because it has a particular name on the fallboard doesn’t mean that it’s the actual brand of piano. You can put any piano decal on any piano if you want to.

Luckily, there is an incredibly easy way to tell if a piano is genuine. A piano will almost always have the name of the company cast into the plate of the piano. If it is a genuine Steinway, Mason & Hamlin, Baldwin, Yamaha, or other major company they will nearly always cast the name of the piano into the plate.

There are a few exceptions I’ve seen in some European pianos that have small plates screwed into the cast iron plate after it’s cast. Grotrian in particular had to remove their name from the plates of their pianos when they were successfully sued by Steinway. They had been Grotrian-Steinweg since the 19th century. But after losing to Steinway, they had to remove the “Steinweg” part of their name off all of their pianos in stock at the time.

There are many times you will see plastic name plates attached to a plate. These are typically stencil brand pianos. Stencil brands are pianos that are created by a different company (mostly in Asia) and bought by a retailer who then places a different name on the instrument. Most of the time, the original manufacturer will simply create a blank plate that the retailer can then add their specialized name to. These pianos are not fake; they are pianos that are manufactured and repurposed for another company.

The name in the plate is pretty much the only easily identifiable way to tell if a piano is genuine. Almost all the major high-end piano companies will cast the name directly into the plate – with a few exceptions.

If you have any more piano questions please contact me directly: Robert@LivingPianos.com

Is Your Piano Fake? Fake Steinway Pianos

It’s a scary proposition to think that something you’ve spent thousands of dollars on could not be what it appears to be. Believe it or not, this actually happens in today’s piano market all the time and it’s something everyone should be awar

Solfeggio, sometimes called sight-singing, is the ability to read and sing music at sight. This is an incredibly important skill for all musicians. So how do you develop these skills?

There are a couple of different systems and each one has different values. I’m going to explore these and you can decide what the best course of action is for you.

I grew up with a method called “movable do solfege”. You’ve probably heard it before: “Do Re Mi Fa So La Ti Do”. “Do” is the tonic, the first note of the major scale, and you simply progress up through the scale degrees. In movable do solfege, no matter what major key you are in, the tonic of that key is always do. For example, if you are in C major, C is “do”. This is important to remember because this is not the case when it comes to “fixed do” solfege.

In “fixed do” solfege C is always “do” (and “re” is d and so on). The notes never change syllables.

While these two methods are completely different, they are both important in their own ways.

The strength of “fixed do” comes from naming notes. No matter what iteration the note takes it will always correlate to the particular syllable in the “fixed do” system. C will always be “do”, D will always be “re” and so on. This can be incredibly useful – especially if you’re a conductor – because you will be able to determine the absolute pitch of each of the notes. Scores are transposed and there are different clefs so being able to determine the absolute pitch is a very powerful tool.

So why would you want to use movable do? Why should you constantly be changing the pitch of “do” and why would you want it in different places? The value is that you can hear music in the context of the key, so you can figure out the notes you are hearing. In other words, if you hear a pattern of notes (for example: do, mi, so ) you can determine that it’s a major triad chord; no matter what the key. This makes it possible to quantify the pitches relative to one another and determine these patterns of notes much easier. This can really help for people who don’t have perfect pitch – it’s a much easier way to know the notes you are hearing.

But what about the relative minor? There are actually two schools of thought for this. The way I was trained is that the key signature determines where “do” is, so the relative minor begins on “la”. This makes perfect sense and is still easy to grasp even if the piece switches between major and minor. This works out the same for all of the modes which share key signatures with major and minor scales but start on different scale degrees (like all the white keys from D-D would be a D dorian mode which shares the key signature of C major which has no sharps or flats).

The last thing we need to address is how to deal with accidentals (sharps, flats, and naturals). These are simply ignored in fixed do solfege but in movable do we add extra syllables to account for these accidentals.

An ascending chromatic scale would be:

Do-Di-Re-Ri-Mi-Fa-Fi-So-Si-La-Li-Ti-Do

Descending chromatic scale is:

Do-Ti-Te-La-Le-So-Se-Fa-Mi-Me-Re-Ra- Do

Movable do solfege is how I grew up with music and it’s how I hear music. I use it for every aspect of music, whether it’s reading music or even performing. All music is essentially playing by ear so even if you read it’s important to have a system in place that allows you to understand what you are hearing.

Thanks for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

What is Solfeggio? Music Theory Lessons

Solfeggio, sometimes called sight-singing, is the ability to read and sing music at sight. This is an incredibly important skill for all musicians. So how do you develop these skills? There are a couple of different systems and each one has different

How to Read Ahead in Music

This question comes from another viewer who asks how to read ahead in music to improve their reading. So how do you achieve this and is it a good technique? Well the truth is, reading ahead is actually not exactly how it works. Instead, it is a matte

What’s the Difference between Allegro and Moderato?

To put it in simple terms, in a musical context: Allegro means fast; while Moderato means moderately fast. (Actually, the Italian translation of Allegro is actually “happy” and Moderato means “moderate”). But these two terms c

This might sound like a silly question but sometimes you have a piece you can play with the music in front of you but you haven’t memorized it yet. You might be able to play the whole piece by barely glancing at the music but you still need it in parts. This can be cumbersome and is something you want to avoid. So how do you fix this?

I have produced a video in the past on How to Memorize Music. If you haven’t watched it yet I highly recommend it as a companion piece to this article. My very first lesson as a child when I studied with my father Morton Estrin was how to memorize music. It’s a crucial skill that every musician should learn.

Taking small sections of music and memorizing each hand separately, then putting them together helps you memorize even the most difficult passages of music. This is a great system to use but how do you account for a piece you almost have memorized? How can you push yourself over the edge and get the whole piece down?

I actually have two methods for you. The first is the band-aid approach to practicing music. This technique is simple but very effective. Play through the piece as far as you can from memory. When you encounter a spot that you can’t go past without looking at the music, you stop. Then take this small section and study it intensely. Use the method I detailed above and learn each hand separately first to get the section memorized securely.

If the band-aid approach doesn’t work for you don’t worry; you have other options. Rather than starting all over again and learning small chunks at a time, expand the amount of music you learn for each section. So where you might have been memorizing 3-4 measures at a time, try and work with 8-10 measures at a time. Make sure you learn the hands separately and then combine them together.

I highly recommend that in the future you start by memorizing your piece as the first step and not the last step. Start by progressing through your music in small chunks and learn each hand separately; then combine them when you’re ready. Ultimately this is a much more efficient way to learn your music.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Memorize a Piece of Music You Can Already Play

This might sound like a silly question but sometimes you have a piece you can play with the music in front of you but you haven’t memorized it yet. You might be able to play the whole piece by barely glancing at the music but you still need it in p

Somebody asked me this question the other day and I was very confused – I wondered what they could be talking about. But once he explained the questions I began to understand that it actually made a lot of sense.

C is the starting note for most pieces you start with on the piano and a C major scale is played by playing all the white keys consecutively on the piano. You’d think that because this is the basic foundation of music that the note would be called A and you would then name the other notes accordingly.

Upon thinking about this I began to understand why things evolved this way and why C is the way it is. To understand this concept you’ll have to go way back into time before minor and major tonality was entrenched into Western music.

Originally, music was built on modes. Modes can be started on any of the white keys (and can be transposed to other keys with sharps or flats). For example, the notes from D to D diatonically is the Dorian mode and the Aeolian Mode is from A to A.

The ionian mode, which is the major scale, was not very popular at the time. If you listen to Renaissance music, you will rarely hear something written in the major. At the same time, the minor modes were very popular and the aeolian mode was one of the most popular. This might explain why A is the starting note!

If anybody has different information about this or another explanation I would be glad to hear it. These are my personal thoughts and conjecture based on my knowledge of music and it’s history. I would love to hear anyone else’s thoughts on why C is not called A.

I hope you have enjoyed this and if you have any questions about this topic or any other, please email me Robert@LivingPianos.com for more information.

Why is C Not A? Music Theory Questions

Somebody asked me this question the other day and I was very confused – I wondered what they could be talking about. But once he explained the questions I began to understand that it actually made a lot of sense. C is the starting note for most