Piano and Music Videos

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about creepy music. Let’s think about film for a minute. When I think of some of the greatest suspense and creepiness in film, I think of Alfred Hitchcock. Movies like Psycho or The Birds. In these films, it’s not what you’re seeing. It’s not thrusting upon you all this crazy stuff on the screen. Instead, it’s just in your head. You’re wondering what’s going to happen next because of the overtones and undertones. Just like in music, if you throw a bunch of stuff at someone, it might be a little bit jarring. It could even be scary! But slow and simple sounds with dissonance might just make you wonder, “What’s happening next?” Music with too much dissonance gets ugly, and there’s a place for that. Obviously we’ve all seen films that are jarring, but what we’re talking about today is something a little bit different. What I have for you is some original music that explores what this little bit of dissonance can do in music to keep you on the edge of your seat wondering what’s happening next. It’s what you don’t hear! So, I hope you enjoy this and see what you think about this. See Video for Performance

So, that’s an example of music that utilizes dissonance to create a mood.

Not a jarring or scary mood, but creepy and suspenseful. This transcends so many things. If you’re in a conversation with someone, for example, and they stop talking and they’re just looking at you, it’s very creepy after a while. It leaves you wondering, “What the heck are they thinking?” It’s much creepier than anything they could be saying. So, it’s that reserve that builds tension. In cooking it’s the same thing. You could throw a bunch of spice in something, and it could be borderline inedible. But just that little bit of spice can make a dish pop. It’s the same thing with your music. And it’s not just for this particular mood of creepy music. It’s how you parse your words in conversation, and how you delineate music without showing it all, to keep people guessing. What’s beyond? What’s coming next? And that’s one of the secrets of creating moods in music! I hope this is helpful for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Thanks for joining us here at LivingPianos.com, I’m Robert Estrin. Today’s question is, “Is Juilliard the Best Music School in the World?” Almost everybody has heard of Juilliard and indeed, there are some sensational musicians who have come out of the Juilliard School of Music in New York City. But is Juilliard the best music school in the world? I can tell you that the Juilliard Orchestra is made up of absolutely top-notch musicians. There are so many violin and cello soloists who go to the Juilliard School that you’ve got a whole string section of soloists! Across the board it’s a great school. Located right in Lincoln Center. What could be better?

As great as Juilliard is, there are two music schools even more elite: The Curtis School of Music in Philadelphia and the Colburn School in Los Angeles.

Curtis and Colburn are magnificent institutions with illustrious faculties. They are both total scholarship schools, so it’s a complete free ride for everyone who goes there. It’s extraordinarily difficult to get in, but a top-notch experience. At Curtis, pianists even get a piano in their apartment to practice on! Also, Curtis has the Philadelphia Orchestra right there. Many of the members of the orchestra are on faculty! And of course Colburn has the benefit of the LA Philharmonic being right there too. The endowments are incredible! So while Juilliard isn’t quite that elite, it’s certainly a great school.

There is a new Juilliard School now in Shanghai!

Shanghai is the epicenter of the piano world. To put it into perspective, there are around 6 million piano students here in the United States, but China has well over 50 million piano students! It’s pretty remarkable. It’s a magnificent idea to open a Juilliard school in China where it’s really needed. It will be interesting to see the next generation of musicians coming out of China, particularly on piano, which is so popular there.

I would love to hear from all of you!

Are there any other schools you consider to be the best? I’m sure there are many schools in Europe that are very selective and have illustrious faculties as well. I just mentioned two schools here in the United States that are incredibly well endowed. Let me know your thoughts on this subject!

I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.
Please feel free to contact us with any piano related questions for future videos.

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I want to know how any of you feel about playing music. Does it help to keep you emotionally stable? Does it help you to overcome sadness and even depression? I’d love to hear from any of you out there who knows more about this subject. Put it in the comments. Let us know here at LivingPianos.com, Your Online Piano Store.

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This is Robert Estrin from LivingPianos.com, Your Online Piano Store with a great subject today: The fundamental importance of arm weight for producing a good tone on the piano. You might wonder what I’m talking about. Before I get into that, let’s discuss the piano as a unique musical instrument.

What was the first musical instrument ever?

The first musical instrument was obviously the human voice! Every other instrument imitates the human voice to one extent or another. Wind instruments, for example, have a clear connection with breath, flow of the phrase, natural progression from note to note, and the smoothness of the line. This is intrinsic not just to vocal performance, but also all wind instruments. String instruments have the bow to create the sense of line like the breath in singing.

What is the analog for the breath on the piano?

You might think, since phrases naturally ebb and flow like ocean waves, that you can simply calculate playing each note louder and louder towards the middle of the phrase, then gradually softer and softer towards the end of the phrase. However, if you try that, you’ll end up with a calculated performance. No surprise there! The secret of creating a smooth line at the piano is, gradually increasing and decreasing arm weight by transferring smoothly from note to note, growing toward the middle of the phrase, and diminishing toward the end of the phrase.

You can try it for yourself!

Play a phrase once while calculating each note getting progressively louder, then progressively softer. Then try playing the same phrase but using the continuous arm weight that ebbs and flows. You’ll find that no matter how much you try to craft the line based upon your musical inclinations, the first version will sound calculated. That is, after all, exactly what you are doing! When you play the phrase again, remember to use the concept of the breath by utilizing the natural weight of your arm. Instead of pushing down more, just support the weight of your arm with your fingers. Lean into it the keys even after initially playing them. Lean more toward the middle of the phrase and less toward the end. You’ll find that this creates a completely different sound. There is something engaging about imposing upon a phrase the idea of the breath and letting the notes flow naturally with that overarching concept. It creates a singing line that belies the reality of the percussive nature of the piano.

I’m interested in your impressions of how this works for you. If any of you have different ways of achieving the same sound, I’d love to hear from you! Once again, this is Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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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 at LivingPianos.com with a viewer question. “Can playing the piano cause hearing damage?” You may be concerned about this. You’ve got one pair of ears for your whole life and you don’t want to blow it, right? We all know that rock and roll musicians often suffer from ear damage. You might not know that symphony orchestra players suffer from ear damage as well. It’s a hazard of the trade. Just think what it’s like when you have sixty or so musicians on stage. You might have timpani behind you, or a trumpet section blaring in your ears. It’s a real problem. To mitigate this, there are acoustic baffles made of plexiglass to help with sound while maintaining visibility to the conductor. What about the piano?

Is playing the piano safe for your ears?

Not necessarily. Whenever we help people choosing pianos, one of the first things we ask is where the piano is going. It’s important to match the piano to the room. For example, think of a seven-foot semi-concert grand. It’s glorious to play in a large room with high ceilings. But what if you put a piano like this into a small bedroom? Would it be okay there? Possibly, if you have really thick carpeting, thick drapes, sofas, beds, and other materials that absorb sound. It might sound fine. But with all solid walls, hardwood floors, low ceiling, even a baby grand could be a problem. The voicing of your piano also makes a big difference. Pianos get brighter the more you play them, and some pianos naturally are brighter.

Asian pianos tend to be brighter than American pianos.

If you have a really bright Asian piano in a room where the acoustics are very live, you could indeed inflict ear damage. A lot of it comes down to common sense. One telltale sign that you’ve gone too far is if you ever get ringing in your ears after playing your piano. That is a very strong danger sign. You should back off for a few days because if you experience ringing in your ears repeatedly, you can develop tinnitus. You can have a constant ringing in your ears that never goes away. You also must be careful how you place your piano as well as what room it goes into.

The voicing of your piano by your piano technician can make it louder or softer.

Naturally, whether your piano is open or closed will also make a big difference in volume. Years ago I had the experience of practicing in little tiny cubicles at school. Playing in a room like that makes you feel really powerful because it is easy to generate huge amounts of sound. Then playing in the concert hall even on a nine-foot concert grand piano in such a huge space, you’d feel like you weren’t making much sound at all. It was unnerving because in the practice rooms you could bang out anything. You could overplay the piano because they were played so much they became overly bright on top of playing in a confined space. It was easy to play loud and fast without any trouble articulating everything in that situation. Practicing in a room where things are too loud is not only bad for your ears, but it doesn’t prepare you to play other pianos in better situations.

I hope this is helpful for you and we appreciate the questions coming in! Again, this is Robert Estrin at LivingPianos.com Your Online Piano Store. Thanks for joining me.

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