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Welcome to LivingPianos.com. I’m Robert Estrin. Today I’m addressing a thoughtful question from a viewer named Jay about memorization and whether it’s really necessary for pianists.

Jay’s Question About Memorization:

I know that you’re an advocate for memorization, and I continue to be amazed at the depth and breadth of your repertoire. We recently heard Daniil Trifonov play the Brahms 2nd Concerto from memory. Amazing! The reason I’m writing is that we’ve heard other performances where the pianist used a tablet. Lang Lang played the Bartók (with the Vienna Philharmonic in West Palm Beach). We’ve also heard Yuja Wang and Simone Dinnerstein, and they all were using tablets.

My teacher, Dr. Marshall Griffith, has instilled in me the number one goal: to make beautiful, meaningful music! Especially as a 74-year-old, I’m not able to memorize the complex music I play. My question: Is there an unwritten “rule” that pianists play from memory?

This is a terrific question, and the answer might surprise you.

When Playing from the Score Makes Sense

Playing with the score on the piano is not only acceptable, but essential in many situations. For example, a pianist performing within an orchestra will almost always use the score. The same is true in chamber music, where the pianist’s part includes all the other instruments. In these cases, having the score is not just helpful, it is necessary.

A Look Back at Performance Traditions

Interestingly, memorization was not always the norm in keyboard performance. In the Baroque and Classical eras, much of the music did not require extreme movement across the keyboard. There are exceptions, of course, such as some Scarlatti sonatas and certain works by Mozart and Haydn. But generally speaking, the music lay comfortably under the hands, making it practical to perform while reading the score.

Why Memorization Became Standard

As we move into the Romantic period, everything changes. Composers like Liszt and Chopin wrote music filled with large, fast leaps and expansive gestures across the keyboard. In this repertoire, memorization became a practical solution. It allows the pianist to focus entirely on the hands and the keyboard, rather than constantly shifting the eyes between the music and the keys.

What About Modern Performances?

It has become accepted to use the score when playing complex contemporary music. Even so, in solo piano performance, playing from memory is still generally the standard. This isn’t just tradition for tradition’s sake. It comes down to practicality and musical freedom. When a piece is truly memorized, you can devote your full attention to shaping the music, rather than navigating the page.

Can Anyone Learn to Memorize?

If you feel that you can’t memorize, it may simply be that you haven’t been shown how. Memorization is not a passive process. Many people think that if they play a piece enough times, it will naturally stick. In reality, effective memorization requires a deliberate and structured approach.

The Three Essential Skills For a Pianist

In my teaching, I emphasize three essential skills that every pianist should develop: memorization, sight-reading, and improvisation. It’s quite common for pianists to become strong in one or two of these areas while neglecting the others. Each skill has its own methods and benefits, and together they create a well-rounded musician.

Welcome to LivingPianos.com. I’m Robert Estrin. If you are completely satisfied with your piano playing and are getting exactly the results you want from your practice, then this article may not be for you. But if you are striving for a higher level of refinement, if there is music you have always wanted to play that still feels out of reach, or if you struggle with reading, memorization, or other fundamental skills, then it is time to take a fresh look at how you practice.

Are You Getting the Results You Want?

I have met so many people who are deeply attached to their practice routines. And to be fair, some aspects of routine are beneficial. Simply practicing regularly has tremendous physiological and mental benefits. Just sitting down at the piano consistently is an accomplishment in itself!

But here is the real question. Are you getting the results you want? If not, how will continuing the same routine change that? There is an old saying that insanity is doing the same thing over and over and expecting different results. The same can be true of practicing. If you are repeating the same process every day without meaningful change, you may simply be maintaining your current level rather than growing beyond it.

What Practicing Really Is

Practicing is discovery. It is a learning process. By the end of a practice session, you should have assimilated something you did not have before. If nothing new has been learned or clarified, then it was not truly productive practice. If you are doing exactly the same things every day, it is unrealistic to expect to reach a new level. Growth requires exploration.

Keep What Works, Question What Does Not

Analyze your routine carefully. Some elements may be extremely valuable. For example, starting with slow scales or arpeggios can warm up your hands, help prevent injury, and give you time to listen to the piano’s tone. It allows you to settle into your seat and establish proper position. These are excellent habits. But beyond that, examine what you are doing. If you typically warm up, then play through all your pieces to maintain them, and perhaps do some sight reading, ask yourself honestly: is playing through your pieces actually making them better? Or are you just keeping them at the same level? If it is not improving them, what could you do differently?

Experiment in Your Practice

Don’t be afraid to try things that may seem unusual. If you are accustomed to simply playing through your music, try practicing very slowly without pedal while carefully watching the score. Use a metronome. Change the tempo deliberately. Sometimes playing a piece slightly faster can reveal weak spots. You may find that most of it holds together, except for two or three key sections. Now you have identified exactly where to focus your time. Instead of practicing everything equally, you can zero in on the places that truly need attention. You could spend the same amount of time at the piano and accomplish exponentially more by targeting specific weaknesses.

Practice with Clear Intentions

Another common problem is practicing without a clear purpose. When you are playing through a piece, what exactly are you trying to accomplish? Are you refining details? Refreshing memory? Improving reading? Strengthening memorization? At every moment of practice, you should know the specific skill you are developing.

When learning a new piece, take very small sections and work phrase by phrase. Practice the right hand alone, mastering every detail. Then the left hand alone. Memorize each part. Put the hands together only after each is secure. Connect sections gradually as you go. This approach builds real security in your playing. For pieces you already know, reinforce them by slow practice, without pedal, with a metronome, and with the score. Slow practice is one of the greatest practice techniques you can use.

Listen with Fresh Ears

Listen for different lines in your music. If you always bring out the top melody, listen for a counter melody in the lower voices. Shift your attention to inner parts. Anything that helps you hear your music in a new way can deepen your interpretation.

If you have access to another piano, even a digital piano or a friend’s instrument, try playing your pieces there. A different sound can open new horizons. You may discover colors and balances you never noticed before, which will influence how you approach your own piano.

Play for Other People

One of the most powerful learning experiences is playing for others. When you think a piece is ready, invite friends to listen. Be brave enough to perform. The experience of playing for someone else is completely different from playing alone. Your mental focus changes. Your emotional response changes. You will learn things in that one performance that you could never learn by playing the piece a hundred times by yourself!

Make Practice a Process of Discovery

Do not become a prisoner of your routines. Keep the elements that truly serve you, but remain open to change. Try new approaches. Set clear intentions. Listen deeply. Make every practice session an opportunity for discovery. When you do that, growth becomes inevitable.

Let me know what routines work for you and share them with others here at LivingPianos.com Your Online Piano Resource. – Robert Estrin

Welcome to LivingPianos.com. I’m Robert Estrin. How many of you have played that famous C major sonata of Mozart, or always wanted to play it? If that sounds like you, you’re in the right place. We’re going to take a complete deep dive into how to learn and master this ubiquitous Mozart sonata, starting right from the beginning.

A Section-by-Section Approach

We’re going to start at the very beginning and work through the piece section by section. By the end of this video series, you’ll be able to truly master this wonderful sonata. Have your score ready. There’s a link in the description so you can follow along with the music, and I’ll be here to guide you every step of the way. As we go, I’ll explain sonata allegro form so you can understand the structure, but more importantly, learn how to execute it cleanly and get that sparkle you’ve always wanted in this piece.

Exposition

Sonata form begins with the exposition, where the main themes are introduced. The opening theme is in C major, and from there the music moves into the second subject. It’s helpful to slow down here and focus on just this section so everything is completely clear before moving on.

How to Learn a Piece Like This

How do you actually learn something like this? I always recommend reading through the entire movement a couple of times first, just to get acquainted and understand the overall shape of the music. Then get right down to work in very small sections. You can learn four measures at a time, or even just two. Many people think learning two measures at a time will take forever, but it’s exactly the opposite. The smaller the sections, the longer and more productive your practice sessions will be. You won’t feel overwhelmed, and you can really digest the score. Two measures at a time is more than enough to make solid progress.

Learn the Right Hand First

Welcome to LivingPianos.com. I’m Robert Estrin. You might have clicked on this thinking, is this just clickbait? I assure you, it is not. What I am about to share with you is very real, and if you embrace it, it can transform your piano playing in ways you might not believe, all in just ten minutes a day.

Why Ten Minutes Can Make Such a Difference

How can ten minutes possibly change your playing? It sounds almost impossible. There are plenty of piano teachers who have students grind away at endless exercises, studies, and technical drills. I actually take a very different approach. I believe the most important thing to work on at the piano is repertoire. There is so much great piano music that already addresses technical challenges that most standalone exercises are unnecessary.

The One Big Exception

Here is the exception, and this is the key to everything. Scales and arpeggios. You have all seen books like Hanon, The Virtuoso Pianist. You might wonder who can possibly sit down and just rip through all of that. The truth is, you should be able to play all your scales and arpeggios under control. Maybe not at lightning speed at first, but comfortably and securely. The idea of spending hours on this sounds daunting. Here is the secret. You only need five to ten minutes a day.

One Scale a Week Is Enough

Take just one scale per week. That’s it. I am not a fan of endless technical work, but this is the one thing you absolutely need if you want to take your piano playing to the next level. Start with the C major scale. You will notice it is written in four octaves in Hanon. That is intentional. You need to be comfortable playing across the entire keyboard. Piano music does not live only in the middle. It uses the full range, so you must be at ease everywhere on the instrument.

Proper Seating and Position

Before you even play a note, make sure you are seated correctly. Sit far enough away from the keyboard so you are not cramped. If you are too close, you cannot reach the high and low ends comfortably, and your arm angles will be all wrong. Make sure you are centered. Keep in mind, the center of the piano is not middle C. It is closer to the name on the fallboard. Sit there so you can easily reach both extremes of the keyboard.

The Mystery of Scale Fingerings Simplified

When you look at scale fingerings, it can feel overwhelming. The good news is there are really only eight fingerings you need to learn. Once you learn them, you can apply them to many different scales. Even better, once you learn the C major scale, there are many other scales that use exactly the same fingering. This is why slow, careful practice is where all the value lies.

Slow Practice With a Metronome

Start with your metronome set to 60 and play one note per beat. Slow practice builds strength, control, and independence of the fingers. High, raised fingers help develop this control, and I have many videos that go deeper into this topic. Here, I am giving you the condensed version so you can get started right away. In just a year, doing one scale or arpeggio per week, you can learn all your major scales, minor scales, harmonic and melodic minors, and arpeggios. That is about 60 total. This slow work is like stretching for an athlete or dancer. It wakes everything up and builds clarity, so you know exactly which keys are down and which are up.

How to Play the Scale Correctly

As you play, keep your shoulders relaxed. Avoid any up and down motion of the arms. This is finger work. The thumb tucks under smoothly, staying close to the keys so it is ready for the next note in the right hand going up and the left hand coming down. Memorize where the thumb crossings happen. Once you do, everything feels natural. This kind of practice feels good because you really get to dig into the keys, with rounded fingers and unused fingers lifted and relaxed.

Building Speed the Right Way

After playing one note to the beat, move to two notes per beat. Go all the way up and down several times. Then move to four notes per beat. At this point, lighten up and stay close to the keys. Listen carefully for evenness. Make sure each note is articulated cleanly and that notes do not overlap unevenly. This listening is just as important as the physical motion.

When and How to Use This Practice

You can do this as a warm-up, or you can do it when your mind is tired of learning repertoire. Five to ten minutes a day is all it takes, and the results are profound. Do exactly the same thing with arpeggios. Remember, this technique comes from the fingers, not the arms. You cannot play fast or accurately by flailing your arms. Fingers are the key.

Why This Works

About 90 percent of piano music is made up of scales, arpeggios, and broken chords. This work not only gives you technique, but also a deeper understanding of keys and harmonic relationships. It ties together technique, theory, and musical understanding. All of this, in just ten minutes a day, can truly transform your piano playing. If you have questions, feel free to leave them in the comments on LivingPianos.com or on YouTube.

Today you are going to learn about the biggest piano practice mistakes you may not even realize you are making. Most pianists spend years practicing harder and harder and still do not get better. In almost every case, it comes down to one hidden mistake. Virtually all students make it, including intermediate and advanced players. If you have ever wondered why your playing seems stuck, this is likely the reason.

What Most Pianists Think Practice Is

Many pianists think practice means logging hours at the piano, playing pieces from beginning to end, and hoping consistency will come with time. Unfortunately, this kind of practice often reinforces problems instead of solving them. The biggest mistake is mindless repetition. Practicing by repeating rather than problem solving is the number one reason pianists fail to improve.

Why is this so damaging? Errors turn into habits. Awareness disappears. Tension creeps in. And enormous amounts of time are wasted. From a neuroscience standpoint, neural pathways do not know the difference between right and wrong. They only know what you repeat.

Why Starting at the Beginning Every Time Does Not Work

One of the hidden practice mistakes people often make is always starting from the beginning of a piece. It feels comfortable because it is the part you know best. You get the illusion of progress by playing what already sounds good. But this avoids confronting the weaknesses that give practice its value. The result is predictable. The beginning improves, the middle stays about the same, and the ending barely improves at all. You polish the opening until it is smooth, reach a difficult passage, and suddenly everything falls apart. Because it is not fun to play what sounds bad, you avoid the very sections you should be practicing. Your brain rewards familiarity, not progress. That is why this approach feels productive even when it is not.

The Fix: Practice Small Sections and Start Where It Is Hard

Instead of starting at the beginning, focus on what actually needs work. Sometimes that means starting from the hardest passage. If you have played the opening a hundred times and the rest is not improving, begin your practice right where the problems are and master even a tiny section completely.

Another Big Mistake: Practicing Too Fast

Practicing too fast is another major problem. If you cannot play a passage securely at a given tempo, practicing it fast only burns sloppiness and tension into your playing. It is tempting because it is exciting and you want to hear the piece at speed right now. But hoping it will magically clean itself up never works. Do not confuse tempo with mastery. Speed will come naturally once you have solidity and control. If you can play something slowly with security, you can gradually increase the tempo. Playing faster than you can play accurately destroys progress because you are reinforcing errors.

Why Bad Habits Are So Hard to Fix

Once tension and sloppy motions are ingrained, they become extremely difficult to eradicate. My wife Florence, who teaches flute, sees this all the time. Students trained from the beginning can develop a beautiful, relaxed sound. Students who come with years of tension often struggle to undo it. Your hands memorize motion patterns, correct or incorrect. That is why you must never allow sloppy, tense playing to become routine.

Slow Practice Works

If you play a passage too fast and think you can fix it by repeating it again and again, stop. Instead, take a very small section and practice it slowly and securely. At first, slow practice can feel harder because it exposes what you do not really know. But this is exactly what allows you to clean up imprecise finger patterns and achieve a beautiful sound.

Stop Avoiding Your Weaknesses

It’s easy to play through a piece while glossing over the parts that give you trouble. But avoiding weaknesses guarantees they will never improve. Isolating problem spots is uncomfortable, but it is essential if you want real progress. Many people have emotional resistance to this. Your ego would rather play the parts that sound good. But what really happens is your worst measures never improve, your tension builds, and the piece hits a progress wall.

Diagnose the Problem Before You Try to Fix It

To fix any problem, you must first diagnose it accurately. Often the first thing to check is fingering. Look carefully at what is written in your score. If the fingering does not work, explore alternatives. A great resource is IMSLP.org, which offers many editions of the same music with different fingerings. Sometimes a new fingering solves a problem instantly!

Another factor is motion. Practice just the leaps or just the difficult movements. Stop before the note you tend to miss and rehearse the motion itself. You can also use rhythmic practice to improve coordination. Coordination issues often come from the hands not being precisely together. Practice stopping just before both hands play to ensure exact alignment. Balance between the hands is another major issue. Do not be afraid to exaggerate the melody. Use arm weight to project a singing tone. You can always refine later, but first establish clarity and balance.

Always Put It Back in Context

After fixing a problem in isolation, always put it back into the musical context. Practice is not just about solving problems. It is about reintegrating them into the piece. Good practice is problem solving. Work on small sections. Analyze instead of rushing. Control instead of speed. Attack weaknesses directly. Even if you spend a lot of time on a very small amount of music, the benefits are enormous because solutions transfer to other sections.

A Simple 10 Minute Daily Practice Routine

For the first one or two minutes, warm up with something simple like scales. Keep shoulders relaxed, fingers rounded, and motions economical. Warm up thoughtfully, not mechanically.

For the next three to five minutes, identify one problem spot and isolate it. Solve it thoroughly, even if it feels difficult at first.

For the next few minutes, continue working on difficulties using slow practice or rhythmic variations.

In the final minute or two, reinforce your work with a clean, relaxed playthrough of just the section you fixed.

Practice With Intention, Not Just Repetition

Simply repeating a passage over and over does not guarantee improvement. Mindless repetition often reinforces mistakes. Practicing with intention means identifying the problem, isolating it, and working on it carefully until it is solved. Focus on one issue at a time rather than trying to fix everything at once. By practicing deliberately and thoughtfully, even small daily improvements will compound into dramatic progress.

What part of your pieces have you been avoiding? Leave a comment and I will help you diagnose it. I read your comments and take them seriously. I hope this helps you. Again, I am Robert Estrin. This is LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to explore a fascinating subject: the three types of memorization. What you feel, what you hear, and what you see. These different aspects of memory work together to create a solid, reliable musical memory. This is known as multimodal memory, and to truly internalize a piece of music, you need to absorb it in all these different ways.

What You Feel: Motor or Muscle Memory

Let’s start with what you feel. This is sometimes called motor memory or muscle memory. Think about how we learn to walk. A toddler has to think about each step, but eventually walking becomes automatic. We take it for granted. The same is true at the piano. There’s a huge amount of physical information involved in playing even a single piece. Without motor memory, it would be almost impossible to execute all the notes, articulations, and rhythms. Motor memory is particularly helpful in moments when your mind might briefly wander. You may suddenly realize, mid-performance, that you’re playing without actively thinking about every note. That’s motor memory keeping things going. But you can’t rely on it completely. It isn’t enough on its own to ensure a secure performance, which is why other forms of memory are essential.

What You Hear: Aural Memory

The most important type of memory is what you hear. Active listening helps you develop a much deeper connection to the music. When you really hear the piece internally, you become aware of harmonic progressions, voicing, and melodic lines. Listening attentively allows you to avoid clashing harmonies and guides your musical interpretation. Listening is key to strengthening your overall memory of the music.

What You See: Visual Memory

Visual memory also plays a part, particularly when it comes to jumps and leaps on the keyboard. Sometimes you simply need to know where you’re going, and seeing the geography of the keyboard helps guide your hands accurately. Visual cues can also include your mental image of the score or your hands in motion.

Bringing It All Together: Intellectual Memory

So how do these three types of memory work together? They all contribute to what we can call intellectual memory. This is your conceptual understanding of the music—knowing how the harmonies are structured, how the phrases are shaped, what the rhythms are doing, and how the piece is built overall.

To test your intellectual memory, here’s a great exercise: Take your score and place it on the music rack. Without touching the keyboard, try playing the piece mentally. You can even play it on your lap. This is pure mental practice, and it’s incredibly effective. Brain scans have shown that mentally playing music activates the same areas of the brain as physically playing it. The only major difference is that you don’t have the benefit of tactile feedback. That “feel” of the keyboard isn’t there to guide you. Have you ever caught yourself in the middle of playing and suddenly realized you were playing on autopilot? That’s motor memory at work. But without the other types of memory, it’s not enough.

The Secret to Solid Memorization