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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.

How to Identify Notes by Ear

Welcome to LivingPianos.com. I’m Robert Estrin. Did you ever want to be able to know what notes you’re hearing? And have you wondered how some people are able to play by ear? Well, today you’re going to learn how to identify notes by ear with a simple and effective technique that can open up a whole new way of understanding music.

Perfect Pitch vs. Relative Pitch

Let’s start by understanding two types of pitch recognition: perfect pitch and relative pitch. Perfect pitch is the rare ability to identify any note without any reference. If you have perfect pitch, you can hear a note and intuitively know what note it is. It’s as effortless as seeing a color and knowing what it is. Some people are born with this skill, and while early musical training can help reinforce it, it’s not something that can truly be learned from scratch. It’s estimated that only about 1 in 10,000 people have perfect pitch. But there’s good news for those of us who don’t have perfect pitch: relative pitch is far more useful for most musicians. With relative pitch, once you know one reference note, you can identify the rest of the notes by their relationship to that reference. More importantly, relative pitch helps you understand the function of notes in a musical context, which is key to real musical understanding.

Hearing the Notes Between the Notes

Let’s say I play a few notes for you. If I told you the first note is middle C, that’s your anchor. Now you can begin to figure out the notes that follow by thinking in terms of intervals. The secret is listening for the notes between the notes. For example, if you hear a perfect fifth, you might be able to identify it because you’ve internalized how many notes (or scale degrees) fit between the first and the second note. This is why singing is such a powerful tool. When you sing the notes, you’re training your ear to recognize these relationships.

What If It’s Not That Simple?

Now, not every example will be as straightforward as starting on the tonic (the first note of the scale). Suppose I give you a B as your starting note, and then play another note that doesn’t fit naturally into a B major scale. That could throw you off if you’re only thinking diatonically (within the key of B major). But what if you’re actually hearing a different scale structure—maybe starting from B but functioning in a different key? Instead of just trying to fit the notes into a particular scale, focus on the intervals between them—the distances in pitch. This way, even if the first note isn’t the tonic, you can identify how far apart the notes are and what their relationship might be.

Try It Yourself

One of the most effective ways to develop relative pitch is to use a reference note and sing through the scale from there. For example, if you know a note is middle C, try singing up the C major scale: C, D, E, F, G, and so on. As you sing each note, listen closely to how each one relates to the others. If you’re trying to identify an unknown note above or below that C, singing the scale can help you locate it by ear. You’re training yourself to recognize scale degrees — the position of each note in the scale — which forms the foundation of relative pitch.

Sometimes it’s easier to start on the upper note and start singing down the scale to the bottom note finding the notes between the notes.

This same idea works with chords. If you hear a chord and aren’t sure what it is, break it down into individual notes. Use the scale to identify each note, and listen for the intervals between them. Over time, this approach allows you to figure out melodies and harmonies simply by hearing them.

Diatonic Thinking Is Key

The magic lies in diatonic thinking. Stick with the notes of the scale, and you’ll be amazed at how much you can figure out. Start with tunes you know well—maybe a nursery rhyme or a favorite melody—and try to figure them out by ear using this method. Think of the notes between the notes, and your musical ear will begin to open up.

Even just ten minutes a day with this practice can permanently change how you hear music. Over time, you’ll improve how much you can play by ear and how easily you can recognize notes. Give it a try and let me know how it works for you in the comments here at LivingPianos.com and on YouTube.

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The 3 Types of Memorization for Pianists

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

By bringing together what you feel, what you hear, and what you see—and combining them into a deep intellectual understanding—you create a lasting, reliable musical memory. Best of all, this kind of memory stays with you even away from the piano. I hope this is helpful for you. Share your thoughts in the comments here at LivingPianos.com and on YouTube!

How Beethoven Revolutionized Classical Music

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to explore how Beethoven fundamentally transformed classical music. And that’s no exaggeration. When you listen to the music that came before Beethoven and compare it to what came after, there is a noticeable shift. That shift, in large part, was due to Beethoven’s revolutionary musical language. Let’s break down how he did it.

Expansion of Form

One of the most striking things Beethoven did was expand the structure of classical works. In the Classical era, sonatas and string quartets by composers like Mozart and Haydn typically had three movements, and sometimes only two. Beethoven certainly wrote many three-movement works, but he also made four-movement structures the norm in many of his later compositions, often by adding a minuet-trio, typically a scherzo third movement.

But it wasn’t just about the number of movements. Beethoven also expanded the movements themselves. For example, in the sonata-allegro form that typically opens sonatas and symphonies, there’s usually a repeated exposition, a development section, and then a recapitulation. Beethoven’s development sections—especially in his later works—took on a life of their own, reaching dramatic and expressive heights that earlier composers hadn’t approached.

To illustrate this, let’s consider the development section of a late Mozart sonata, the C minor Sonata K. 457. This is a powerful work for its time, and the development section is substantial and intense. But when you contrast it with even an early Beethoven sonata, like the G major Sonata Opus 14 No. 2, the difference is striking. Beethoven extends the development far beyond expectations, introducing new ideas and transformations that push the boundaries of the form. And this is just an early work—his later sonatas go even further.

Deceptive Cadences: The Element of Surprise

Beethoven also introduced unexpected harmonic shifts that were rare in the music of his predecessors. One of the most effective tools he used was the deceptive cadence. This is when you expect a musical phrase to resolve in a familiar way—typically to the tonic—but instead, it takes a completely different direction. For instance, in the development section of the Opus 14 No. 2 Sonata, Beethoven sets up a resolution, but instead lands on an A-flat major chord—completely out of left field. This kind of surprise grabs your attention and creates a sense of drama that Mozart rarely employed in the same way. Mozart’s modulations are beautiful and clever, often leading you to a slightly unexpected place that feels just right. But Beethoven often pulls the rug out from under you, taking you somewhere you never saw coming. Another stunning example can be found in the development of Beethoven’s D major Sonata, Opus 10 No. 3. The movement begins in D minor and suddenly you’re in B-flat major. It’s a jarring, brilliant moment that showcases Beethoven’s flair for the unexpected.

Sudden Dynamic Contrasts

Another hallmark of Beethoven’s style is his use of sudden dynamic changes, particularly subito piano, which means “suddenly soft.” These moments often follow a crescendo, building intensity and then abruptly dropping in volume. It’s a powerful expressive device that Beethoven used frequently. In the third movement of the Opus 10 No. 3 Sonata, for example, Beethoven builds energy only to suddenly drop the volume, creating tension and release in unexpected ways. Even in the lyrical first movement of the famous Moonlight Sonata, Beethoven includes not one but two subito piano markings. These are not to be taken lightly. They are deliberate, and they bring out the emotional nuance of the music. Ignoring them would be a disservice to the music’s intent.

The Birth of Romanticism

Beethoven’s innovations in form, harmony, and dynamics laid the groundwork for the Romantic composers who followed. His ability to expand development sections into full emotional journeys, to use harmony and dynamics in ways that surprised and moved the listener—these were all departures from the classical ideals of balance and restraint. Composers like Schumann, Mendelssohn, and Brahms would not have written the music they did without Beethoven paving the way. This is the true genius of Beethoven: he pushed the boundaries of the classical forms he inherited, infusing them with an emotional depth and unpredictability that changed the course of music history.

Thank you all for joining me. Again, I’m Robert, and this is LivingPianos.com, Your Online Piano Resource.

Master Clementi’s Sonatina in C Major, Opus 36 No. 1 – (2nd Movement)

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re continuing our multi-part series on How to learn and play Clementi’s Sonatina in C Major, Opus 36, No. 1. This article focuses on the second movement, a lyrical contrast to the vibrant first and third movements. More than just learning the notes, we’ll explore how to elevate your performance to a high expressive level.

This is the second in a four-part series, which includes an in-depth look at each of the three movements, as well as a complete performance of the work.

A Stark Contrast from the First Movement

The second movement is a complete departure from the bright energy of the first. Where the first movement features crisp staccato, lively fingerwork, and dynamic contrasts, the second movement introduces a gentler, more introspective mood and tonal palette.

An important tip when performing this piece: between movements, don’t lift your hands from the keyboard. If you do, audiences may mistakenly think the piece has ended and applaud prematurely. The three movements together create a greater artistic impact than each one alone. So keep your hands on the keys, transition directly, and let the music flow seamlessly.

The Hidden Challenge of the Second Movement

Though slower and more lyrical, this movement is arguably the most difficult of the three. Why? Primarily because of the balance between the hands. Here’s the issue: high notes on the piano fade more quickly than low notes. On top of that, the left hand often plays two or three times more notes than the right. If you play both hands at equal volume, the melody in the right hand will be lost under the busier bass. To correct this, the left hand must be extremely light, almost feather-like. Keep your fingers close to the keys and use minimal effort. In contrast, the right hand melody requires more weight from the arm to sustain notes and create a singing line.

The Importance of Tempo

The movement is marked Andante, which means ‘a walking pace.’ It should feel relaxed but not drag. Playing it too slowly causes the melody to lose shape and energy. A slightly quicker tempo helps the melody connect more naturally, especially given the fading quality of the higher notes.

Breathing Life Into the Phrases

All the phrases in this movement — and in most lyrical classical music — need to rise and fall dynamically, just like the natural inflection of speech or breathing. Without this shaping, the music sounds robotic. Think of each phrase as a musical breath: a gentle swell followed by a natural relaxation. This gives your playing vitality and emotional impact. To achieve this, use your arm weight in the right hand and transfer it smoothly from note to note. Don’t try to calculate the volume of each finger. Instead, feel the line as a whole and let it breathe.

Simplifying the Trill

There is a trill early in the movement, and it’s a common stumbling block. Don’t feel compelled to play a large number of notes. Instead, simply play two notes for each triplet eighth in the left hand. This sounds elegant and musical without overcomplicating your technique. Later, if you gain confidence, you can embellish further by playing more notes. But keep it simple at first. Trills offer creative license. They don’t require a set number of notes. What matters is musicality and flow and to decide how many notes you will play.

Connecting Repeated Notes

A particularly challenging aspect of this movement is dealing with repeated notes, which are hard to play legato since the same key must fully release before being played again. To solve this, you must change fingers on repeated notes and lift previously played fingers high. For example, going from finger 5 to 4 on the same note, the 5th finger must lift high above the key before repeating the note. If the previous finger doesn’t lift sufficiently, the connection will be broken and sound detached. This technique allows you to create a smooth, singing line, which is crucial for expressive playing.

No Pedal Required

It’s possible — and preferable — to play this entire movement without using the pedal. This forces you to develop finger control and clarity. The pedal can easily muddy the texture and mask weaknesses in legato technique. By learning to control your phrasing and legato with your hands alone, you’ll develop a much more refined touch, and a deeper connection to the music.

Phrasing and Rhythmic Nuance

When you encounter dotted rhythms, be mindful of their precise placement. For instance, a sixteenth note following a dotted eighth should not fall exactly halfway between the beat. It should come slightly earlier. Getting this rhythmic placement correct adds grace and authenticity to your playing. Incorrect placement can make the phrase sound awkward or stiff.

Playing Repeated Notes in Thirds Smoothly

In one passage, you encounter repeated notes in thirds, making finger changes impossible. Instead, make sure you stay close to the keys and let the keys return fully between repetitions. This technique is subtle but essential. It allows you to maintain smoothness even when technical options are limited.

Shaping the Final Phrases

Toward the end of the movement, you’ll find phrases that taper off dynamically. Don’t rush these just because the measure “looks” shorter. Each measure takes the same amount of time, regardless of how many notes it contains. Also, don’t let the final notes stick out. Begin with enough sound on the longer notes so you can naturally decrescendo into the phrase ending. If the long note is too soft to start with, you won’t be able to taper off, and the last note will pop out unnaturally.

Thumb Repetition and Legato

At one point, you’ll have to play a sixth interval with the thumb on two consecutive notes. Since it’s impossible to connect a thumb to itself, don’t try to force a legato between those bottom notes. Instead, connect the top notes and let the bottom be slightly detached. That way, the melody still flows. This is a common technique in piano playing — connecting what you can, and releasing what you must, while maintaining the illusion of complete legato of all notes.

Dynamics: It’s About Tone, Not Volume

Even in soft passages, you can use generous arm weight to produce a full, projecting tone. Piano doesn’t mean lifeless or weak. If you’ve ever heard a flute or oboe solo marked piano in an orchestra, you know it still carries throughout the hall. The same applies to piano playing: dynamics are relative and expressive, not measured by a decibel meter. So don’t be afraid to use more sound than you think you need. A rich tone is essential to communicating the line, especially in a performance space.

Repeated Techniques Throughout the Movement

Throughout the movement, you’ll encounter repeated note patterns again. Apply the same techniques. Change fingers when possible, lift previously played fingers, and shape the phrase with rise and fall. Eventually, the first theme returns, giving the movement a sense of unity and closure.

Skills You Can Use Across Classical Music

This lyrical second movement offers a wonderful opportunity to develop your expressive playing and technical control. Everything you learn here applies not only to the other movements of this sonatina, but also to a wide range of classical repertoire — from other Clementi works to Mozart, Haydn, Beethoven, and beyond. The principles of balance, phrase shaping, and touch are universal. I hope you find these insights helpful in your own practice. I’m Robert Estrin and this is LivingPianos.com, Your Online Piano Resource.

How to Play Clementi’s Sonatina Op. 36 No. 1 in C Major (1st Movement)

Sonata-Allegro Form Overview

The first movement is in sonata-allegro form, which is the most prevalent structure in Western classical music. It’s used in countless sonatas, symphonies, string quartets, piano trios, and more by composers like Mozart, Beethoven, Schumann, Shostakovich, and Brahms.

Here’s a quick overview: it’s essentially an ABC structure.

  • A – Exposition: This introduces two contrasting themes. The first is in the tonic key, C major. Then comes the second theme in the dominant key, which is five notes above the tonic — in this case, G major. You’ll know the exposition ends because it repeats.
  • B – Development: Here, the two themes are developed and transformed. In Beethoven’s works, development sections can become epic, but in Clementi, and even in Mozart and Haydn, they are generally more concise.
  • C – Recapitulation: The original themes return, but this time both are in the tonic key so it ends where it began.

In this piece, both the development and recapitulation also repeat. This was common practice in Mozart’s sonatas, though Beethoven later moved away from this, often repeating only the exposition.

How to Interpret the Score

I’m working from an urtext edition, which means the only markings are those that Clementi himself wrote. There are fingerings, some dynamics, but no slurs or staccatos. Does that mean everything should be played evenly with no articulations? Absolutely not.

In Clementi’s time, composers didn’t include every articulation or expressive marking the way Romantic and later composers did. Instead, performers were expected to interpret based on style and context.

Without any articulations, it would lose its spark. Classical music relies on clarity of line, which is achieved through articulation.

Technique: Articulation and Tone

To get that crisp classical sound, you’ll want to use staccato from the wrist, not the arm. The arm is too heavy and awkward, while the wrist provides the right amount of bounce and clarity.

Left Hand: Hover slightly over the keys with a gently bent wrist. Drop down and bounce right back up, using only the wrist.

Right Hand: Here, you’ll encounter slurs leading into staccatos. The technique is down on the first note of the slur, then up on the staccato note. When combined at tempo, it creates brilliance and contrast.

Interpreting Dynamics

This piece does include dynamics, which is helpful because many earlier works (such as Bach’s) generally didn’t have any written dynamics.

When learning the piece, exaggerate the phrasing and dynamics while playing slowly. As you speed up, dynamics tend to diminish, so over-exaggerating early on helps lock in the musical intention and supports memorization through muscle memory.

I recommend using a metronome and learning all phrasing and dynamics from the very beginning. Once your fingers are used to playing a certain way, it’s incredibly hard to undo later.

Practice Tips for Tricky Passages

One of the more challenging spots is the passage in thirds at the end of measure six. The first part is a simple G major scale, but the thirds require solid fingering.

  • Practice in two-note groups to internalize the fingering.
  • Then do hands together the same way.
  • Add a crescendo leading up to the forte for musical shape and energy.

Once you’ve isolated the difficulty and achieved fluency, you’ll be able to bring it up to tempo smoothly.

Tremolos and the Development Section

The second section has a tremolo around the fifth measure of the development. The key to tremolo is rotation of the hand, not finger movement alone. Rotation is efficient and effortless, while using just the fingers causes tension and fatigue.

Apply the same techniques throughout the second half of the movement: wrist staccato, strong finger legato, and careful dynamic shaping. As you gain speed, lighten your touch, stay close to the keys, and let the arms guide motion rather than pressing down on each note.

Gaining Speed with Metronome Practice

If you’re struggling with speed, first get your playing completely secure at a slower tempo. Then increase the tempo one notch at a time.

You don’t need to move the entire piece notch by notch. Instead, focus on the challenging passages. This targeted approach makes metronome practice far more efficient.

Solidify your foundation and everything else will fall into place. Slow, methodical work upfront pays off tremendously in the long run.

Coming Up Next…

Stay tuned for Part Two, where I’ll cover how to approach the second movement, which presents a whole new set of technical challenges.

Check out the performance and practice videos linked below, and thanks for joining me here at LivingPianos.com — Your Online Piano Resource.