Piano and Music Videos

This is Robert Estrin here at LivingPianos.com with a question, “What Is the Right Fingering on the Piano?” Fingering is such a deep subject on the piano that I could give courses on it and have guest artists to share their ideas because, truth be known, fingering is not a one size fits all proposition.

Are there any fundamental fingerings that all pianists follow?

There are some essential fingerings that all pianists must learn. For example, unlike the violin and other string instruments which do not have standard fingering for scales and arpeggios, on the piano there is standard fingering. I should mention a little aside here. There is another school of thought for a tiny percentage of pianists called, “mirror fingering” in which the thumbs always play the same notes in both hands in scales and arpeggios. But that is a subject for another video.

Most pianists learn proper fingering for scales from “Hanon 60 Selected Studies for the Virtuoso Pianist.”

You can get the Hanon book on Amazon or most sheet music stores. It is the Bible of fingering for scales and arpeggios on the piano. All pianists must learn the correct fingering for scales and arpeggios, but what about in your music? If you’ve ever had sheet music that has fingering in it, and then you see another edition of the same piece, you might be shocked to discover that the fingerings are different! In fact, fingerings are different in various editions! So how do you know what’s right?

Fingering is as much art as it is science.

My father, Morton Estrin, was a concert pianist with enormous hands. I have relatively small hands. Just think of that alone. Something that might lie right under the fingers of somebody with big hands would be impossible for somebody with smaller hands to reach. We must accommodate our hand size. Even the thickness of the fingers and the stretch between the thumb and the other fingers, all of these things affects us. Here’s the key: You must practice to find the fingering that works for you. Does that mean that anything goes with fingering? Far from it!

It takes many years to learn how to find the right fingering.

There is no substitute for a good teacher, as well as having authoritative, well-edited, fingered editions. I use that in the plural because there’s nothing better than having multiple resources of fingering suggestions. When you’re running through a problem with a passage, one of the first things to look for are new fingering solutions. Sometimes the fingering, even though it seems like it should be perfectly good, might not work for you. You have to discover what fingerings work for you.

There are some hard and fast rules in fingering.

I mentioned scales and arpeggios, but there are other fingerings you must follow. For example, rapid repeated notes with one hand. If you try to do that with one finger, you’re never going to be able to get it up to speed. But, by using three fingers you can go much faster. So, there is one thing that is certainly a rule. You must change fingers when playing rapid repeated notes with one hand. In fact, I like changing fingers on repeated notes even when they’re slow because of the legato quality you can get. When you play a repeated note without changing fingers, it is difficult to get a smooth sound. But by changing fingers, one finger is going down while the next finger comes up, so you achieve smoother, more connected repeated notes.

If you have technical problems in a passage and you’ve worked and worked but you never can get it, try experimenting with new fingering. Get another edition with fingerings and try them out. You will be rewarded! It is one of the things that will come to you after you’ve studied piano for a long time. You’ll start to understand fingering in a way that allows for solutions to technical and musical challenges on the piano.

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

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949-244-3729

Hi, I’m Robert Estrin. This is LivingPianos.com. Today’s topic is “Technique vs Musicality” There will be a lot of opinions about this subject. But truth be known, you can’t really separate technique from musicality completely.

What is technique?

In its most abstract form, you might think of technique as being the physical capabilities, how fast, how loud, the control, trills octaves, etc. But in its essence, technique is being able to produce on the instrument what you hear in your head. Being able to create something in the outer world from your inner world. Ultimately, that is the secret of technique.

Is technique more important than musicality?

Pretend for a moment that somebody out there just wants technique. They don’t care about the musicality. They’re just making it into a sporting event. Can you really achieve something with that? You might think that if somebody could play faster and louder, or slower and more delicately, and every nuance of touch on such a high level, that they would probably have a career because they’d be so phenomenal. But the truth is, having tremendous technique on the piano is very common. Believe it or not. I know most people haven’t met concert pianists, but there are so many concert pianists around the world who you’ve probably never heard of. If you heard them, you’d be astounded thinking that they’re greatest pianists in the world because they can play so well.

Now let’s talk about musicality.

Can you be musical without technique? Well, just imagine if you considered yourself to be a writer. You’ve got great stories, but you can’t really write and you aren’t a good orator either. You have to have a command of language in order to be able to express anything in writing! It’s the same thing with music. You can’t have musicality abstracted from technique. It takes a technique to be able to produce music. Here’s the good news: The repertoire for piano is so vast that someone who is a relative beginner, if they have a natural emotion in their music, if a teacher guides them with appropriate level of music, it’s possible to play musically even with a very basic technique.

Even beginners can play with musicality.

There’s a piece by Cuthbert Harrison from the book, “ABC Manuals” that I loved as a kid and taught countless times. Because I taught this piece so many times, I heard a lot of kids play it and nobody did what I did with it, which was to play it very slowly. Usually with kids, the more they get to know a piece, the faster it goes. But so much can be done with this relatively simple piece of music that doesn’t take very much technique. You can achieve a great deal of musicality just with the voicing of the notes.

Technique and musicality are both necessary for any musician.

So, if you want to explore musical possibilities and total control, the secret is choosing a piece of music that you can have total command over. I know many of you want to play certain pieces of music you’ve heard for your whole life and that you love so much. But you’re doing yourself a disservice if you spend all your time with music that is above the level at which you can play what you hear in your head and achieve it on the instrument. Start with that premise. And you will develop a technique in service of the music, which is what it’s all about! You can’t really separate technique and musicality. You need to have both in order to achieve greatness on your instrument. And that’s the lesson for today!

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

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949-244-3729

Welcome to LivingPianos.com. Today’s question is “Why is it So Hard to Sight-Read Ragtime Music?” Ragtime music is so much fun to listen to and it’s fun to play as well. But it’s extraordinarily difficult to sight-read! And you might wonder why. To give you an example as to why it is so difficult to sight-read ragtime music, I’m going to compare it to something that is as far removed from ragtime as you can get, which is Bach.

Baroque era music can be played without your hands jumping around the keyboard.

Even though the music is complex, you don’t need to look at your hands because it’s all right there under your fingers. The hands don’t leap around like they do in ragtime. Music which has octaves alternating with chords in the left hand, which is very typical of ragtime music, is all but impossible to play without looking at your hands. So if you’re reading the score, how do you look at your hands and the score? It can be maddening! There’s a lot of music that falls into that category where you just need to look at your hands to handle the leaps. But here’s the good news: if you go to the trouble of memorizing ragtime, it’s not particularly difficult to play! There’s a certain technique that’s required. It’s the same technique utilized in pieces of Liszt, such as the end of his 6th Hungarian Rhapsody. The left hand goes all over the place!

Leaping back and forth from octaves to chords makes sight-reading nearly impossible.

That’s why ragtime or any music that has fast leaps is extraordinarily difficult to read. Even some relatively simple accompaniments, like some works by Fritz Kreisler. They’re absolutely glorious works and they have very simple piano parts. But the left hand has leaps in several sections making it very hard to read. There are two ways you can approach this. One way is to have the score memorized. The other way is to work on practicing those leaps without looking. I love to be well prepared when I have an accompaniment like that so I can either choose to look down at the hands or follow the score. I like to practice keeping my eyes on the score and get it to the point where I can do it just by feel. Now think about this. There are some sensational blind pianists out there. So, it is possible to be able to sight-read music that has leaps, but it’s extraordinarily difficult.

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

info@LivingPianos.com
949-244-3729

I hope this is helpful and thanks for joining me, Robert Estrin here at LivingPianos.com Your Online Piano Store

info@LivingPianos.com
949-244-3729

I’m Robert Estrin from Livingpianos.com. Today’s topic is, “Reinventing Yourself as a Musician”. You may wonder what I am talking about. In life, not just in music, there’s an illusion that you can have total stability. Of course this is impossible. Everything around you is constantly changing. Even things that appear consistent are in a constant state of flux.

Each performance is unique.

Let’s say for example you perform a piece and it goes exactly the way you want it to. The next time you perform that piece, can you recreate the performance? Even though you’ve done it once before, it’s never going to be the same. You’ll never be able to perfectly recreate that performance, any more than you could recreate a conversation you had with someone. After you have a great performance, you are in a different mental state about that piece. You’ve experienced something new that adds to your repertoire of performances. If you start chasing things you’ve done in the past, you’ll never move forward. You will never reach the same heights as before by trying to imitate something you have done in the past.

How can you reinvent yourself musically?

Studying music that you’ve never played before is a tremendous way to enrich yourself. It can add to your musicianship and help you to see things in a different light. Learning a new piece of music not only offers you the possibility of playing new repertoire, but it can also change your outlook on pieces you’ve previously studied. For example, if you’ve studied several early pieces of Beethoven, and you venture into a later piece of Beethoven, you might have a better understanding of Beethoven and how his mind worked.

You might even delve into a completely new style of music.

Maybe you’ve never played jazz before, and you start learning some jazz! If you go back to your classical pieces, you will find similarities. For example, a cadenza in the G-minor Ballad of Chopin is not dissimilar from a jazz riff of something improvised. We can think of these little cadenza passages as what Chopin might have done while improvising. It’s more spontaneous and can give us a glimpse as to how Chopin played the piano.

Each instrument can show you something new

If you’ve been practicing on the same piano all the time, and then you have an opportunity to play a nicer instrument, it can change your whole outlook on music. The sounds are different, the touch is different. Your connection is different! Having different instruments to play on is unbelievably valuable. For pianists this is especially true because you generally can’t bring your personal piano with you to performances. With Living Pianos, I’ve had the opportunity to play so many great pianos, which has helped me to grow as a musician.

You must reinvent yourself as a musician all the time.

I remember my father, Morton Estrin, would always learn new pieces his entire life. Into his eighties, he was learning mammoth new works, and when he would see colleagues from years ago performing “the same program they played when they were at Julliard 25 years ago” he had no patience for that. Musicians who keep recycling the same music over and over again oftentimes stop growing. It’s important to expand your repertoire and your playing experiences. If you’ve always played recitals, maybe do chamber music. If you’ve rarely performed solo recitals, maybe you’ve done concertos a great deal, then you should try solo performing or something completely different. Always expand your outlook. It’ll keep you fresh. It keeps your music compelling, and it’s the secret to growth, not only as a musician, but in every aspect of life. You must give yourself new experiences all the time in order to keep life fresh and vibrant.

I hope this has been a good lesson for you! I’d love to hear from you, and how you feel about your music and reinventing yourself. Is this something you have done, and how has it worked for you? I’m Robert Estrin at Livingpianos.com, Your Online Piano Store.

info@LivingPianos.com
949-244-3729

I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Store. Today’s topic is, “Why You Must Underestimate Yourself When Practicing the Piano”. Why would you ever want to think less of yourself? You might be thinking it would be harder to figure anything out if you underestimate your intelligence. It’s actually quite the opposite, particularly with adult beginners. It can feel as though things are harder than they should be sometimes. Why is that? The fact of the matter is, people who play at a high level have figured out how much they have to break things down in order to achieve desired results. It’s really important that you don’t overwhelm yourself.

If you accept your limitations, that’s when you can be truly productive!

You’re always better off taking smaller sections, or taking a slower tempo and really perfecting something. Don’t bite off more than you can chew, because that’s the surest way to get discouraged. If you’re learning a piece of music and you focus on a section that’s just a bit more than you can absorb, you’ll keep working at it, but you may leave the piano feeling dejected. So, instead, you might try going to the piano and focusing on sections half as long. You may slow down the tempo and learn just one hand at a time. Then, you can really nail things down. It is extremely satisfying to get something perfected, even if it’s just a small part. By taking small sections and building them up and taking slow tempos and gradually getting faster, you will develop tremendous security in your playing you won’t achieve by overestimating what you can do.

How do I practice?

I have a video on how to approach a new piece on the piano in which I take Chopin Mazurka at random. I literally flipped through the book and started memorizing a piece.

Here is the link:

HOW TO LEARN A NEW PIECE OF MUSIC ON THE PIANO

You’ll see how many times I go over even the smallest sections to learn them. I treat myself very gently in my practice. I don’t over exert my mind. I try to just give myself something I know I can accomplish in a short amount of time and repeat that process again and again. This is how to sustain a long, productive practice.

Know your abilities.

So remember, when you sit down at the piano and think, “Why can’t I do this?” Try something simpler. Try a smaller section, maybe even a simpler piece. Maybe you’re working on the last movement of the Moonlight Sonata when you should be working on a Bach minuet! You’re much better off learning a piece suited to your skill level and being able to play it on a high level than butchering a harder piece of music.

Keep yourself humble.

That’s the secret, not just to piano playing, but in life itself. Don’t overestimate your abilities. Give yourself a break. We’re all human. You have certain things that you’re going to excel at and some things that will take longer for you than other people. If you can accept that one basic fact, you can be very productive. Just give yourself what you can master at that moment, and you can sustain a long practice. This method is much more satisfying.

I hope this is helpful for you. Any of you who are beginners or just feel your practice isn’t going well and you think something’s wrong with you, there is nothing wrong with you. It’s just hard! You’ve got to realize that. So break things down and put things together. You will be rewarded with much better performances and the satisfaction of doing something really well.

I’m Robert Estrin, thanks for joining me here at LivingPianos.com.

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