Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today, we’re going to talk about how to care for your piano. If you have a nice instrument, you want it to last a long time. Not only that, you want it to play well for you on a regular basis. I’m going to give you some simple tips today that will help you extend the life of your piano and make it play better for the time you own it.

The first thing is the environment your piano is in.

It’s vital to provide a stable environment for your piano in regards to temperature and humidity. It’s really pretty simple. If it’s a place you would be comfortable sitting day in and day out, your piano is going to do great! Excessive humidity takes its toll on a piano. The strings can rust, and the action can become sluggish because wherever there’s friction, there are felt bushings. And those felt bushings can absorb moisture. As a result, it gums up, and everything becomes sluggish. On the flip side, you don’t want to keep your piano in a really dry environment. Let’s say you have a home with forced hot air, or worse yet, if the hot air vent is under your piano, it could actually dry out the soundboard and crack it. You could destroy your piano, and it could take tens of thousands of dollars of work to either replace or repair the soundboard. So you really want a median humidity in the 45-50% range. If you get down to single digits or up to 85-90% humidity, you’ll have problems over time. Also, if you have big swings in temperature, it can affect the tuning stability.

Equally important is the maintenance of your piano.

I can’t tell you how many times people contact us and say, “I got a piano. It’s perfect. It just needs tuned.” And by that, they mean they have a piano that they haven’t tuned in ten years. It’s like if you had a car and hadn’t changed the oil in ten years. Your piano is not going to be the same. It’s going to take major work to get it in tune. And it’s possible that the piano might start breaking strings. It can be really tough. So you want to maintain your piano on a regular basis. What does that really mean?

The Piano Technicians Guild recommends four tunings a year, and that’s a good number.

Now, believe it or not, some people should tune their pianos even more than that. My father had two grand pianos in his studio, and because he taught on the pianos and practiced on them, he had them tuned every month! You might think that’s excessive, but the more you play a piano, the more it goes out of tune. In a perfect world, your piano would be tuned every day! But of course, that’s not practical. Four times a year is a good amount for most people. And the real minimum is twice a year. Why twice a year? Well, when you go from heat to air conditioning, and then back again later in the season, the piano can shift. Interestingly, it might sound okay, but the whole piano might lose pitch. Sometimes, a piano can even go higher than pitch! The secret to keeping your piano in tune is keeping it as stable as possible.

The more you tune a piano, the longer it will hold its tuning.

If a piano hasn’t been tuned for a long time, the next tuning won’t hold very long. So keep up with your tuning. Put it in your calendar. You have two or three strings on most notes of the piano. If they’re not right in tune with each other, you hear waves or beats. It doesn’t have a pure sound. If you hear that, it’s time to tune your piano. If you’re wondering if your piano has lost pitch, there are tuner apps you can get on your phone, and you can check to make sure the pitch is stable. If you start seeing that A has deviated from 440 more than 1 or 2 cycles, it may be time to tune your piano.

Lastly, but also important, is the furniture.

After all, a piano is one of the most significant pieces of furniture you have in your home. You want to keep it looking nice. What do you need to do? Well, simply dust your piano with either a cotton cloth or a microfiber cloth. That’s all you should need to do most of the time. If you get smudges on your piano, you can dampen the cloth slightly. If it’s a piano with a hand-rubbed finish where you can see the lines, or if there’s woodgrain in your piano, rub in the direction of the lines. And that’s really all you want to do. Because if you use any product on your piano, it builds up over time and has to be professionally removed.

What about the inside of the piano?

If you keep your piano open all the time, dust will collect in there. You can try blowing it out with a vacuum cleaner, but that can get pretty messy. Even then, the soundboard can get really gummed up with dust. Your piano technician will have a tool to get under there. They actually take out the action and then get under there with the tool and clean it for you. You don’t have to do that that often, but you want to keep up on it so it doesn’t get really dirty because then it can actually inhibit the sound, and it gets harder to clean if you go a really long time. That’s one reason why it’s best to keep your piano closed, particularly at night if you keep your windows open.

So those are the main things to think about.

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about why you must practice perfectly three times in a row. This is really important for any of you who want to develop consistency in your piano playing. So often, when I’m working with students and they come to a passage they are having trouble with, they play it a few times with issues, then finally, they get it right, and then go on. If you played it and missed it about five or six times, and got it right only once, what are the odds you’re going to get it right again? Only one in six.

You want to put the odds in your favor!

Three times in a row is the absolute bare minimum where you get any sense that the odds are in your favor at all. Why? Well, if you miss it once and then get it, you’ve got a 50/50 chance. By playing it perfectly three times in a row, you have a better than 50% chance of getting it. But it’s not enough just to be able to play it three times in a row perfectly.

You must get it three times in a row, perfectly with absolute relaxation and security.

If you’re just barely getting through a passage three times in a row, you aren’t really getting the security you need. You need to get it where it just comes out without even having to work hard. Your fingers should almost have an automatic response. You want to develop motor memory to the point where it’s just in your hand, and you don’t have to have tension to get it. So when I say three times in a row, I don’t mean just getting it to sound right three times in a row. It has to feel right three times in a row as well.

Three times in a row is the bare minimum.

You want to have security in your playing. So remember, get the odds in your favor! Don’t just get it three times in a row; get it to the point where you’re relaxed and it just comes out in a fluid manner three times in a row. Then, you can challenge yourself by playing it louder, softer, faster, or slower. Try doing different things if you want to really gain security. But don’t go on in your practice unless you get something at least three times in a row perfectly.

When you’re initially learning something, you might not be able to get something three times perfectly.

Welcome to LivingPianos.com, I’m Robert Estrin. The question today is: What was the peak year for piano sales in the United States? At the turn of the 20th century, before television or radio, the piano was the de facto home entertainment system for families in the United States. Not only that, but player pianos were incredibly popular.

Player piano rolls had the words to the songs written on them so that people could gather around the piano and sing along.

Not only that, but there were little control levers so that whoever was operating the player piano, typically pumping it with their feet, could control the treble and bass volume, as well as other aspects of the sound. Some player pianos even had ways of interacting with the sound, like putting little tacks in front of each of the hammers with a lever to get different sounds. So it was really fun, and they were immensely popular. So I’m going to give a rundown here, going all the way back.

Let’s start at the beginning of the 20th century.

In the year 1900, about 171,000 pianos were sold in the United States. Now, that’s pretty astounding. But the peak came just a few years later. In 1909, there were around 365,000 pianos sold in the United States. That’s an amazing number when you consider there were only about 90 million people in the country, a quarter of the population today! Then, the Great Depression hit, and the radio became popular. In 1932, only 27,000 pianos were sold in the United States. That’s an astounding decline in piano sales!

There was actually a time when no pianos were sold in the United States.

During World War II, from about 1943 to 1945, piano factories converted to defense manufacturing. The Baldwin factory, for example, was producing parts for planes. So there were no pianos produced. And then, of course, it started to pick up again after World War II ended. By 1978, it was kind of another peak year, with 282,000 pianos sold. Of course, at that time there were 223 million people living in the country, about two and a half times as many as in 1909, with fewer pianos being sold.

Let’s flash forward to 2020.

Only 21,000 pianos were sold in the entire country in 2020! Now, these are new piano sales. Naturally, as the years go on, there are more and more used pianos sold in the country, and not all of those are counted in these figures. So you have to take this with a grain of salt. Now, that was the start of COVID. By 2021, it had gone up to roughly 29,000. When you consider that there are 332 million people in the country, that’s really a tremendous decline in the number of pianos sold.

There are a plethora of digital pianos and used pianos being sold today.

You can find plenty of used pianos for sale on eBay and Piano Mart, as well as right here at LivingPianos.com, where we restore used pianos because there are so many instruments that go by the wayside. And our mission is to rescue the ones that are worthy of restoration, bringing new life to pianos! I hope this is interesting information for you! Anything that we can do to increase the interest and love for pianos, we do it right here! Thanks again for joining me, Robert Estrin, here at Living Pianos: Your Online Piano Resource. Join the discussion at LivingPianos.com where you can leave your comments on countless articles with accompanying videos.

I was recently featured in Kickin’ It With Kenny on Fox 8 News in our Living Pianos warehouse, just blocks from our showrooms and piano shop in the Waterloo Arts District. It is in the same historic building that was the Slovenian Hall, which now houses Treelawn Music Hall which features world-class jazz artists. We sold them a 9-foot concert grand Steinway before the Hall opened last year.

This news segment is part of a larger story about the Waterloo Arts District, where Living Pianos is located. We discussed my history in the piano business, how Living Pianos started in 2006 as the World’s First Online Piano Store, and why we moved to the Waterloo Arts District in Cleveland.

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how Mozart broke the rules. Did Mozart really break the rules? What do I mean by that? It’s a funny thing that we, in retrospect, analyze music from hundreds of years ago, and come up with the forms these great composers composed in.

The quintessential form of all time is the sonata allegro form.

Sonatas are generally three- or four-movement works (sometimes two movements), and the first movement is almost always in the sonata allegro form. Why do they call it the sonata allegro? Because the first movement is usually the fast movement, and allegro means fast. In a nutshell, it’s a three-part form:

A. Exposition

B. Development: This is a free development of both themes
C. Recapitulation

– Theme 1. in the tonic key (the key of the piece) – Theme 2. in the tonic key (so the movement ends in the key it started in!)

The exposition has two themes. The first theme is in the tonic key, which is the key of the piece. The second theme is in the dominant key, which is five notes higher than the tonic. Then, the whole exposition repeats.

I’m going to outline it here in Mozart’s famous K 545 C Major Sonata, so you can see how he broke the rules.

The first theme is in C major, naturally, which you would expect. It continues to the second subject in G major, and the entire exposition ends in G major. This is a classic sonata allegro form. That’s the end of the exposition. Then you come to the repeat, and the entire exposition repeats.

After the exposition, you come to what’s called the development section. The development comes after the double bar, after the repeat, and it’s a free development of both the first theme and the second theme. After the development section comes the recapitulation. What’s the recapitulation? It’s a repeat of the beginning. You have theme one and theme two. Except theme two this time doesn’t modulate to the dominant. It stays in the tonic. So the piece ends in the same key it started!

But Mozart takes a turn that is unexpected.

Then the first theme comes back in F major, the subdominant. How did this happen? It continues in F major. But the first theme is supposed to come back in the recapitulation in the tonic key, C major, but we’re in F major. Then it goes to the second theme in C major, which is what you would expect. But there is never a restatement of the first theme, the opening theme in C major, which is a textbook of what a sonata is, and he just leaves it out. In fact, that statement of the main theme in the subdominant in F major is simply part of the development section. He never gives you the first theme in the recapitulation in the tonic key as expected. The recapitulation just has a short statement of the first theme in the subdominant, F major, in the development section. Then it goes right into the second theme in C major to the end. So yes, Mozart broke the rules.

All great composers break the rules!

Welcome to LivingPianos.com, I’m Robert Estrin. Are there musical geniuses like Mozart alive today? In the world today with billions of people, there have got to be some people with tremendous talent. There are great players and child prodigies, but is there anybody at the level of artistry, creative beauty, and pure genius of Mozart?

The answer is yes!

If you have not seen her already on YouTube, you must check out Alma Deutscher. I’ve been following her for years. She started posting on YouTube when she was five. There are videos of her playing the violin from a very young age. She is unlike any musical talent I think you’ve probably ever seen in your life. Just to give you an overview, she’s now 18 years old. She has composed three operas. She composed her first complete opera when she was only ten years old! There are some videos of her performing where the audience chooses notes and she improvises using those notes. She can instantly create a composition on the highest level, beyond what you would think of as improvisation.

She is an accomplished pianist, violinist, and singer.

She’s great on all three of these instruments, as well as being a conductor. She’s written violin concertos, piano concertos, and three operas. It’s just amazing. You could see her evolution through time. But from the youngest age, there is a spark of joy in her, and an appreciation for beautiful melodies, which just flow out of her naturally, whether she’s improvising or composing. If she just played the violin, sang, played the piano, or composed even a fraction of the music that she’s written, she would be noteworthy. But the fact that she does all of these things is astounding! She is much like Mozart, who was great on violin, piano, conducting, improvising, and composing for so many different ensembles, from opera to piano to symphonies, from the youngest age.

There are still musical geniuses like Mozart alive today! But where can they shine?

Are there places for people like Alma Deutscher? Where will her career take her? This will be very interesting. Many composers today are in the film industry because it’s one area where people can actually make a living composing music. We no longer have royal courts with benefactors the way they existed back in Mozart’s time.

I want all of you to check out Alma Deutscher!

Welcome to LivingPianos.com, I’m Robert Estrin. How can you tell if a student is talented? You sometimes see kids who have difficult pieces they can play fast, and they have it all memorized. And then sometimes you hear somebody who just touches you, and you have a deep emotional connection.