Tag Archives: bach

Revolutionaries of Classical Piano

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to explore some of the groundbreaking composers who revolutionized classical piano music. Now, this could easily be a ten-week course or span an entire semester. There are so many important figures, but I’ll focus on a few of the most influential composers who opened up vast new possibilities in piano composition.

From Baroque Restraint to Classical Clarity

Let’s start with Bach. Of course, the piano hadn’t even been invented during his lifetime. His music was primarily written for the harpsichord or clavichord and is highly contrapuntal, with voices weaving tightly together. The writing tends to stay within a narrow range without many large leaps.

Even moving forward to Mozart, whose works were written for the early piano, the textures remain relatively close-knit. Take, for example, his Sonata in C major, K. 545. If you listen to the second movement, you’ll notice how everything stays in a compact register. The hands move in a limited range, and the melodies and accompaniment are very much in the same sonic space. This kind of writing is also typical of Haydn, where the music is refined and structured, but still maintains a tight, elegant character without extravagant gestures.

Beethoven Breaks Boundaries

Naturally, the next step in the evolution of piano composition brings us to Beethoven. He truly expanded what the piano could express. I’ve covered Beethoven’s innovations in other videos, but I want to highlight just one example that showcases something you’d never find in Mozart’s writing.

In the first movement of the “Pathetique” Sonata, Beethoven uses crossed hands in a dramatic way. This isn’t just for show. It adds a layer of complexity and theatricality that was unprecedented. While Mozart might occasionally include brief hand crossings, like in the “Turkish March” Sonata, Beethoven takes it much further. He also introduced a much wider dynamic range, including sudden changes from soft to loud, and vice versa, which revolutionized expressive possibilities on the piano.

Chopin and the Romantic Voice of the Piano

Where do we go from Beethoven? Chopin, of course. Chopin and the piano are almost inseparable. His entire output centers on the instrument, and he introduced a rich variety of textures and techniques that hadn’t been explored before. Take a look at his Ballade in G minor. Let’s consider just a short excerpt. If you play it slowly, without the pedal, it almost doesn’t make sense. It’s a bit like viewing an Impressionist painting up close. You just see blotches of color. But from a distance, everything blends beautifully. Chopin was able to envision these flowing passages and understand how they would sound when played with proper pedal and tempo. The theme that emerges is so lyrical and expressive, yet surrounded by a tapestry of harmonies and textures. His writing pushed the instrument into new emotional and tonal territory.

Of course, Chopin wasn’t alone. We could talk about Liszt, who brought virtuosic brilliance to the forefront. Mendelssohn and Schumann also contributed greatly to the development of Romantic piano music. All of these composers expanded what the piano could do, both technically and expressively.

Into the 20th Century: Color and Complexity

Fast forward to the 20th century and everything changes again. With composers like Ravel, Debussy, and Prokofiev, all conventions are reimagined. For instance, Debussy’s Doctor Gradus ad Parnassum from his Children’s Corner suite showcases a completely different kind of writing. The textures and colors he creates on the piano are almost orchestral. Listen closely and you’ll hear a shimmering, impressionistic style that’s completely different from earlier composers. This continued exploration of timbre and sonority brought piano music into the modern era.

What Comes Next?

The progression of piano writing over time reveals a fascinating journey. Each of these composers built upon what came before, expanding the expressive and technical range of the instrument. We’re fortunate to have such a rich repertoire that showcases the piano’s full potential.

Which composers do you feel expanded the possibilities of the piano in revolutionary ways? Leave your thoughts in the comments. There are so many more we could explore. I could easily create a part two, three, or even four to highlight more of these incredible musical pioneers. Again, I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Resource.

The Golden Rules for Perfect Chords on the Piano

Welcome to LivingPianos.com. I’m Robert Estrin. Have you ever heard someone play the piano and every chord just sounds beautiful? Whether they’re reading written music or improvising, the chords seem rich and perfectly balanced. Yet when you try to do the same, the chords might sound cluttered or harsh. Why is that? It turns out, the secret to beautiful-sounding chords lies in something deeply rooted in nature: the overtone series.

What Is the Overtone Series?

The overtone series is the natural phenomenon that gives sound its color and character. Any musical sound—whether from a piano, another instrument, or even a non-musical source—contains more than just its fundamental pitch. Overtones are additional pitches that naturally occur above the fundamental note. They’re what give sound its richness, just like how a color is often made up of many different shades. A pure sine wave with no overtones sounds flat, lifeless, and boring. When overtones are present, the sound becomes full and musical.

You can even observe overtones on the piano. By silently pressing a high C key (lifting the damper without making sound), and then firmly playing a lower C, the higher string will begin to vibrate sympathetically. This demonstrates that the higher C is part of the overtone series of the lower C.

The Pattern of Overtones

The overtone series begins with notes that are far apart and gradually get closer together. Starting from the fundamental tone, each successive overtone comes closer in pitch to the next. After a certain point, the overtones are separated only by half steps. This pattern is crucial because it explains why some chords sound better than others. When chords are constructed in a way that aligns with the spacing of the overtone series, they naturally sound pleasing to the ear.

Spacing Is Everything

Here’s where this becomes especially practical for piano players. Chords voiced with wide spacing between the bass and the upper notes tend to sound much better than chords that are clustered closely in the lower registers. For example, if you play a chord in the left hand using tightly packed notes, the result is often muddy and unpleasant. But if you space the bass note well below and place the rest of the chord in the right hand, the result is far more pleasing. This principle isn’t just for improvisation or modern styles. It has deep roots in Western classical music.

The Influence of Bach and Western Harmony

Western harmony, as we know it, evolved from vocal writing, particularly in the chorales of Johann Sebastian Bach. These chorales consistently show that the bass note (the lowest note) is spaced significantly below the upper voices. This spacing mirrors the overtone series and results in a resonant, clear sound. Even in simple tunes like “Happy Birthday,” when chords are voiced with space between the bass and the upper notes, the result is much more satisfying.

Beethoven and Beyond

This approach to chord voicing is not limited to Baroque music. Take, for example, the second movement of Beethoven’s Pathetique Sonata. When the arpeggios in the left hand are reduced to block chords, you can see how Beethoven employs the same concept. The bass notes are separated from the other tones, allowing the chords to breathe. This is a continuation of the harmonic principles established through centuries of musical development, rooted in the overtone series.

Applying This to Your Playing

Whenever you play chord progressions, remember to space your chords so that the bass note stands apart from the upper notes. Let the right hand handle most of the chord tones, especially when supporting a melody. Whether you’re playing simple triads or complex harmonies, this approach creates a much more rewarding and musical sound. Compare this to playing everything close together in your left hand and it usually results in a cluttered mess. Giving your chords room to resonate in line with the overtone series is key to making your playing sound professional and beautiful.

A Universal Principle

This concept of voicing chords according to the overtone series isn’t limited to classical music. From Bach to Beethoven and into contemporary styles, it’s a universal principle of good voice leading and harmonic balance. By understanding and applying this natural spacing, you can dramatically improve the sound of your chords. I encourage classical players to study their scores and observe how often composers use this technique. It’s everywhere, once you start to notice it. Thanks for joining me. I’m Robert Estrin, and this is LivingPianos.com, Your Online Piano Resource.

4 Piano Exercises That Actually Work!

Welcome to LivingPianos.com. I’m Robert Estrin. If you’ve watched my videos, you know I’m not a big fan of doing endless exercises. In fact, I often suggest turning your music into exercises. That approach can solve many problems while also solidifying the pieces you actually play. But today, we’re going to talk about four essential exercises that can elevate your piano playing. Anyone serious about playing the piano should include these four things in their practice routine. You’ll get tremendous benefits from them.

1. Scales

It’s not just about playing scales. It’s how you practice them that makes the real difference. Did you know that it’s much harder to lift fingers off the keys than to push them down? I’ve demonstrated this many times. Try it yourself. You’ll notice, especially with your fourth finger, that cleanly lifting it is more difficult than pressing it down. The best way to develop control is with slow practice, raising your fingers deliberately while keeping your hands relaxed. Use only your fingers, not your arms. Let the power come from the fingers themselves. As you practice slowly, keep your thumb tucked under in advance of when it needs to play. This is crucial for fluid thumb crossings. For example, in the right hand, the thumb should be tucked under the whole time except when it plays. This preparation avoids awkward movements when playing fast. The same principle applies in reverse for the left hand. Focus on raised, rounded fingers, with no up-and-down arm motion. You’ll start to feel strength and independence building in your fingers through this deliberate approach.

Interestingly, slow practice builds more muscular benefits than fast playing. Do four repetitions slowly at a tempo like 60 BPM, or whatever is comfortable for you. Once you’re confident, move on to two notes per beat, then four notes per beat. At faster speeds, lighten up and stay close to the keys to develop fluency. There’s no time to raise your fingers at that pace, so listen carefully for evenness and consistency. There are many ways to vary your scale practice, such as changing the phrasing, articulation, or dynamics. But before exploring those variations, it’s essential to first master the fundamentals. Learn all the major scales thoroughly and with intention.

2. Arpeggios

Arpeggios are just as important as scales, and they’re practiced in a similar manner. One complication with arpeggios is that thumb crossings are wider, so you might run into issues where your hands feel cramped or awkward. Just like with scales, tuck the thumb under in advance, but also incorporate a slight hand rotation. This lets you avoid raising your shoulders or adding unnecessary tension. Your right hand rotates slightly as the thumb passes under, and in the left hand, it’s the same idea in reverse. Always prepare the next note in advance.

You can also break down arpeggios into shorter groupings, which can help develop control and accuracy. There are many ways to approach this, and I’ve made plenty of videos on the subject. If you visit LivingPianos.com and type “arpeggios” in the search box, you’ll find a wealth of material to explore!

3. Developing the Wrist

Finger technique is only part of the story. Your wrists are also instrumental in piano technique, particularly for staccato, octaves, and chords. One of the best ways to train the wrist is with a simple exercise in thirds, using just the wrist for motion. It’s important to isolate the wrist from the arm. The arms are heavy and clumsy and simply can’t move fast enough. The goal is to identify and isolate wrist motion. In the exercise, your arms should not move up and down. Instead, let the arms guide your hands over the correct keys, and strike from above with a quick, sudden motion from the wrist. If this is new to you, you’ll feel it in your forearms. These are muscles you don’t typically use, so that’s a good sign. However, if you find yourself using the whole arm to generate motion, stop. That’s not the technique you’re going for.

This might seem like a simple exercise, but it’s all in the execution. Just go through this routine a few times a day and you’ll be amazed how much it helps with control and clarity in everything from staccato to dense chordal passages. When you see someone playing crisp staccato or powerful chords with ease, much of that control is coming from proper wrist technique. Take a piece like Beethoven’s “Waldstein” Sonata, which is filled with repeated chords. If you try to play that with your arms, you’ll tire out quickly and lose articulation. Wrist technique allows for speed and lightness, which are critical in such music.

4. Octaves

The final exercise is octaves. This builds directly on the wrist technique we’ve already explored. This uses the same wrist principle but adds the strength of the hand’s arch. Why is the arch important? Because it equalizes the power between the strong thumb and the weaker pinky. Without the arch, your thumb would dominate and the sound would be uneven.

Start with a metronome at 60. Strike from above with the wrist, preparing each octave position in advance. Be sure to keep your second finger curled. That maintains the structural integrity of the hand. Use the wrist to balance the pinky and thumb so both land evenly. If you don’t do this, you’ll get a heavy, uneven sound where the thumb overpowers everything. Relax your shoulders and focus all the motion in the wrist. Imagine bouncing a ball. The energy comes from a quick, natural release, not a forced push. If you try to play octaves with your arms, you’ll quickly hit a wall with speed and stamina. The wrist allows for quick, fluid motion and prevents fatigue. Do as many repetitions as you can while maintaining proper form. Over time, this will dramatically improve your endurance, clarity, and control with octaves.

These Are Four Essential Exercises

Spend just a few minutes on each of these every day and you’ll see real improvement in your playing. Learn all the major and minor scales and arpeggios, and take your time. There’s no rush. You have a lifetime to enjoy the piano and develop your artistry! Thanks for joining me here at LivingPianos.com, Your Online Piano Resource.

The One Piano Exercise That Can Transform Your Playing

The Difference Between Playing Mozart and Chopin

Welcome to LivingPianos.com. I’m Robert Estrin. Understanding how to approach the music of Mozart and Chopin is essential for any pianist aiming to play with stylistic integrity. These two great composers come from different musical eras, and while both wrote beautiful music, the way expression functions in their work is dramatically different.

Mozart: Clarity, Structure, and Classical Balance

Mozart’s music is the epitome of Classical form and architecture. It’s carefully constructed, with a clear purpose behind every note. The second movement of his well-known Turkish Sonata K331—a gentle minuet in 3/4 time—is a perfect example of this clarity. The sections are distinct and balanced, and the overall feel is elegant, with a transparent texture.

The Classical period focused on proportion and order. The pianos of Mozart’s time also had a lighter, more percussive tone, a narrower range (about five octaves), and very limited sustain. There were no pedals as we know them today. A lever operated with the knee could achieve some sustained effects, but the overall sound remained clear and crisp. This means that using a lot of pedal or excessive rubato in Mozart would be out of place, stylistically and sonically.

Chopin: Expression, Rubato, and Romantic Color

Chopin, writing during the Romantic era, had a vastly different instrument to work with. The piano in his time wasn’t the fully developed instrument we know and love today, but it was much closer. It had nearly the full 88-key range and more advanced mechanics, allowing for greater dynamic control and expression. Importantly, it had pedals, and Chopin made full use of them.

When playing Chopin, rubato becomes a major expressive tool. This give and take with the tempo doesn’t alter the overall timing, but it allows the performer to play around the beat, giving the music a natural, singing quality. This expressive freedom is essential to Chopin’s style, especially in his waltzes, mazurkas, nocturnes, and other dance-inspired works. Unlike Mozart, where the music’s structure is at the forefront, Chopin’s music prioritizes emotional expression. There’s room for a wide variety of interpretations, and no two performances of the same piece will sound alike.

Different Tools, Different Language

The evolution of the piano plays a big role in how we interpret these composers today. Mozart’s music, born in a time of limited pedal and dynamic options, thrives on clarity and rhythmic precision. Chopin’s music, on the other hand, blossoms with the expressive capabilities of the more modern instrument.

For example, in Chopin’s Waltz in A-flat major, we hear the flexibility of tempo and color. This contrasts sharply with the structure and lightness of Mozart’s minuet. It wouldn’t make sense to apply the same interpretive tools to both pieces. Even though they’re both in 3/4 time, the style and character are completely different.

What Happens When You Switch Styles?

As a kind of experiment, imagine playing Mozart in a Romantic style—full of pedal, rubato, and heavy expression. What happens? The music loses its clean architecture and turns overly sentimental. It feels out of character. Now, try the reverse: play Chopin as if it were Mozart. Keep everything strictly in time, use minimal pedal, and avoid expressive bending of the tempo. Suddenly, the piece feels cold and rigid. You lose the flowing, lyrical line that defines Chopin’s voice. These kinds of comparisons make the distinction crystal clear: the music simply works better when approached with the correct stylistic framework.

Know the Style, Know the Composer

To play Mozart with authenticity, think form, clarity, and precision. Keep pedal use minimal, and let the music speak with its natural elegance. To play Chopin well, embrace the expressive possibilities of the modern piano. Use rubato tastefully, pedal liberally (but sensitively), and aim for a singing tone that brings out the emotional depth of the music.

Understanding the period style not only honors the composer’s intentions, but also helps the music come alive in the most natural and effective way. If you ever doubt that, just try flipping the styles and listen for yourself.

You can listen to the accompanying video and hear what these composers sound when played in each other’s styles. I’m curious to hear your thoughts on the distinct styles of Mozart and Chopin. Which approach resonates with you more when you play or listen to their music? Feel free to share your impressions in the comments here at LivingPianos.com and on YouTube. It’s always fascinating to explore how these differences come across to different people.

The Dark Side of Piano Competitions: Do They Stifle Creativity?

Welcome to Living Pianos, I’m Robert Estrin! Today, we’re pulling back the curtain on one of the most prestigious—and controversial—piano competitions in the world: the Van Cliburn International Piano Competition. While this event has crowned some of the greatest pianists of our time, it’s also been the center of some serious controversy. Let’s dive in!

The Van Cliburn Competition has long been seen as the pinnacle of achievement for aspiring concert pianists.

Held every four years in Fort Worth, Texas, winning this competition can launch a pianist into the stratosphere of classical music. But it hasn’t been without its fair share of drama—starting with allegations of biased judging.

Did you know that during the height of the Cold War, Van Cliburn himself faced political interference?

When Cliburn competed in the first-ever Tchaikovsky Competition in Russia in 1958, Soviet Premier Nikita Khrushchev was asked whether Cliburn should win. After hearing how popular he had become with Russian audiences, Khrushchev gave the go-ahead. Despite this victory, some jurors in later Van Cliburn Competitions, such as in 1962, faced pressure and rumors of favoritism toward Soviet pianists like Lev Vlasenko, causing tensions within the judging panel.

Controversies in piano competitions go deeper than just political influences.

One of the most famous incidents happened during the 1980 Chopin International Piano Competition when Ivo Pogorelich, a pianist with a unique and avant-garde approach, was eliminated early. This prompted renowned pianist Martha Argerich, who was serving as a judge, to walk out in protest. She called Pogorelich a “genius,” but his unconventional style offended some of the more conservative jurors, highlighting how competitions often favor safer, less daring interpretations. This raises the question: Do these competitions truly reward the most creative artists, or do they push forward those who conform?

The level of pianists entering these competitions is incredibly high.

The repertoire requirements alone assure that anyone entering major piano competitions is on an incredibly high level, requiring technical mastery, artistry, and endurance. One of the judges in the Chopin International Competition was once heard saying they wouldn’t consider anyone who didn’t play note-perfect. This suggests that the expectations are so demanding that they might stifle artistic expression. Do competitions really do justice to the artform of piano playing, or are they prioritizing technical perfection over unique interpretation?

Many insiders believe that political alliances and favoritism have influenced which pianists rise to the top.

It’s no secret that jurors often come from similar circles—a ‘closed club’ of piano teachers who wield enormous power over the careers of young artists. This has led to widespread debates over the fairness and transparency of the judging process.

Winning international piano competitions today doesn’t always guarantee a sustainable career.

With so many new winners emerging, it becomes challenging for one pianist to stay at the top. While competition winners often spend their time traveling and performing, they have less opportunity to practice and refine their art, making it difficult to stay competitive as younger musicians—who have more time to practice—rise through the ranks. Even prestigious titles may not hold the weight they once did in establishing long-term careers.

What does this mean for the integrity of piano competitions?

Should we reconsider how jurors are selected? And how much of a pianist’s success is really determined by talent versus connections or politics? The Van Cliburn competition is a legendary stage for pianists, but the controversies raise important questions. Is it time to rethink how we judge the future of classical music? Let me know your thoughts in the comments below. And as always, subscribe to Living Pianos, your online piano store, for more deep dives into the world of music. I’m Robert Estrin. I’ll see you next time!

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Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com

Bright VS. Warm Voicing: Can You Tell the Difference?

Welcome to LivingPianos.com, I’m Robert Estrin. In a recent video, I discussed the concept of piano voicing, specifically focusing on the distinction between warm and bright voicings. If you’re interested in a detailed exploration of these voicing techniques, you can check out that video here. Today, we’ll conduct a sound test to illustrate the differences between a piano with a bright voicing and one with a warmer tone.

Sound Test: Comparing Voicings

I’m going to play the same excerpt from Chopin’s F-sharp Nocturne on two different pianos to showcase these differences. First, I will play the excerpt on the Schiedmayer piano. This German-made piano is known for its bright voicing, which complements its distinctive sound. Listen carefully to the tone produced by this piano. Next, I’ll play the same excerpt on the Steinway Model A, which features a warmer voicing. This model is known for its rich, warm tone that is characteristic of Steinway pianos. Notice how the tone contrasts with the Schiedmayer’s clear as a bell sound.

Can you tell the difference?

By listening to both pianos, you’ll be able to hear the different qualities of their tones. The Schiedmayer’s bell-like sound contrasts with the Steinway’s warmer, more resonant voice. Both pianos offer beautiful voices with unique characteristics. I’m eager to hear your opinions on the differences in tone. Please share your thoughts in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.

For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin

Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com