Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about which fingers work best for playing trills on the piano. Sometimes people see trills and they think they should just play as many notes as possible. I’ve talked before about how trills must be measured. You have to know exactly how many notes you’re playing in a trill. Even though when you listen to a trill it sounds like a free form explosion of notes going back and forth, trills have to be measured so you know exactly how many notes you play. Otherwise, ending a trill is impossible because you’re leaving it to chance whether you end up on the right note or not!
You don’t always get to choose your trill fingers.
There are some instances, for example in Bach Fugues, where you must trill with four and five. These are the worst fingers to trill with! Try to avoid four and five as trill fingers. A lot of people think three and two are the best trill fingers. And indeed, three and two are pretty strong trill fingers. But the best trill fingers are actually three and one! Three and one are the strongest fingers. Your thumb is the strongest finger and the third finger is probably your second strongest finger. Three and one are terrific for trills. Four and two could work nicely as well. There are a lot of different possibilities. Three and one are great when you have that possibility. Three and two are good too. It depends where you’re coming from and where you’re going in your score to determine what the right fingering is. Not only that but if you have other lines within the same hand, sometimes as I said, in contrapuntal writing in fugues particularly, you might not have much of a choice as to which fingers to use for trills.
I’m going to give you one final trill fingering tip.
I’m going to show you something that’s really interesting and it ties right in with the idea of measuring your trills. If you measure your trills, you might want to try alternating three, one, three, two. By using those fingers, you actually reduce the load of the trill to three fingers so none of the fingers have to work quite as hard. Not only that but it helps you to measure your trills. Even if you don’t end up using three, one, three, two as trill fingerings, it will help you to make sure that you’re playing the right number of notes in your trills, which is the most important thing!
You never want to think of trills as something abstract from music.
Just imagine that every single note is written out and play it as it’s written in the score. If you’re figuring out your own trills, find something you can play reliably. Don’t worry about trying to make the fastest trill. What’s important is that it’s musical, repeatable, and dependable. If you can use three and one, or at least three and two, you’re going to be way ahead of the game. I would like all of you to try three, one, three, two, as well and let me know how it works for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to play with a metronome. It can be a really daunting task, particularly if you’re not accustomed to playing with a metronome. The tips I’m going to give you today are not just for those of you who are new to the metronome, but also for those of you who practice with a metronome incessantly and wonder how to stay with the metronome.
How do you set a metronome?
There is some great software out there that can be helpful. You can get apps on your phone that allow you to just tap the tempo and it finds it for you, which can be incredibly valuable. But how do you even establish the tempo? Let’s say you’re playing a piece and you’re wondering how to set the metronome. Well, you can tap your foot along with the music to establish the beat. You have to establish the beat first. Then turn your metronome on and try to match it. Once it sounds right, try playing along to see if it feels right. If it feels too fast or slow, adjust the speed and try again until it feels right.
How do you stay with the metronome?
I’ve seen so many people struggle to stay with the metronome. I’m going to show you a very simple technique that’s going to make a world of difference. When the metronome speeds up, speed up with it. When the metronome slows down, slow down with it. Of course the metronome is consistent, but I bet when you’re playing with the metronome, you could swear that it’s speeding up and slowing down! In reality, it’s you who is changing speed. But it feels like the metronome is slowing down or speeding up sometimes, doesn’t it? All you have to do is follow whatever it seems to be doing. If it seems to be getting faster, you get faster. If it seems to be getting slower, you get slower. And if you do that, you will stay with the metronome.
If you continue to struggle you may want to adjust the speed.
When you’re playing with a metronome and you’re not absolutely precisely with it, make minute adjustments in your playing by going a little faster with it, or a little slower with it to get back on time. But if you ever gain or lose a beat, you should stop and figure out if maybe the metronome is set a little too fast for you. Try a slightly slower speed to see if you can stay with it, because you should never gain or lose a beat. However, if you just nuance slightly behind or ahead, you might just finish the phrase then go back and see if you can do it more faithfully on the beat. Practice a number of times until that ebb and flow around the beat is minimized. The goal, of course, is to stay spot on with the metronome. But you don’t necessarily have to stop every single time you’re slightly off. Instead, get used to adjusting. Follow whatever the metronome seems to be doing. That’s the answer for staying with the metronome!
Once again to recap, establish the speed by tapping your foot or tapping your hand and then finding that speed on your metronome. Or better yet, download an app where you can just tap in the tempo. From there you can adjust further to find exactly the right speed. As you’re playing, if it feels just too fast or slow to be able to play with, adjust the speed. But once you lock it in, whatever the metronome seems to do, that’s what you’re going to do. That’s how you’ll stay with the metronome. I encourage all of you to try this! If you’ve had problems with the metronome, try these techniques and see how they work for you. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to know when a piece is in a major key or a minor key. There are certain sonic signatures you may already be aware of. Something in the minor key has more of a sad or dark quality than a major key. Just establishing a major key compared to the same exact chord progression in the minor key sounds drastically different. So you might be able to figure out that a piece is in a minor key because of the sadder quality that minor harmonies naturally tend to have. But is there a technical way to differentiate?
The key signature provides you with essential information.
If you know your key signatures, you know that if you have no sharps or flats that you’re probably in C major, if you’re in a major key. Because no sharps or flats form the C major scale. So what if that was in a minor key? What would that mean? Well, here’s the interesting thing about key signatures. All key signatures share both major and minor key possibilities. So if you have no sharps or flats, it could be in C major, but it might be in the relative minor of C major. What do I mean by the relative minor? It has to do with starting on a different note of the scale. The sixth note of the major scale is where the relative minor is found. So if you have no sharps or flats, instead of being centered on C, being centered on A, the sixth note of the C major scale, you are in A minor. Another way you can find the relative minor is to simply go down three half-steps from the major key. So once again, no sharps or flats could be C major, or it could potentially be three half-steps lower than C, which again brings you to A.
So what is the A minor scale?
The pure form of the A minor scale is simply the same exact notes of a C major scale, except starting on A. To discover whether a piece is in a major or minor key, you might think all you need to do is figure out where the notes are centered. There is actually a much easier way! Generally speaking, the minor is not found in its pure or natural form. Instead, it’s found in the harmonic or melodic forms, which have altered tones. That is to say that in a harmonic minor scale, the seventh note is raised a half-step. Interestingly, having a raised seventh makes an augmented second between the sixth and seventh notes. All the other notes of the scale are either half-steps or whole steps, but here you have a step and a half between the sixth and seventh notes.
Why is this so significant? Because if you see a piece with no sharps or flats, and all over the place you have G sharps, then you can pretty well assume that you’re in A minor. I mentioned that there’s a harmonic and a melodic form. The melodic form has two altered tones. Both the sixth and seventh notes are raised by a half-step. But the melodic minor scale descends in the natural form with no altered tones. There’s something really interesting about the melodic minor in that it has all the exact same notes of the major scale with the exception of the third. If you just change the third note from C to C sharp, now you have an A major scale. That’s an interesting side note, not to confuse the issue, because the A major scale has almost nothing to do with the A minor scale, except they are parallel major and minor.
Today the thing to think about is the relative minor.
Once again, the relative minor is found starting on the sixth note of the major scale. In C major the relative minor is A minor, which can be found in either the harmonic form with the raised seventh or the melodic form with the raised sixth and seventh, which only is ascending. Descending, it reverts back to the natural minor. So if you have a piece with no sharps or flats and you see a lot of F sharps and G sharps, you can be pretty well assured it’s not in C major, but it’s in A minor.
With other keys, as long as you know key signatures, you know which specific notes to look for. For example, if you have one sharp in the key signature, which would be an F sharp, this is the key of G major. To find the relative minor of G major, it’s exactly the same thing. It starts on the sixth note of the G major scale. Or you could go down three half steps from G. Either way, E minor is the relative minor of G major. So if you played all the notes of the G major scale, except starting on E, you would have the natural or pure E minor scale, the relative minor of G major. But that’s not the way minor scales generally occur. Usually, minor keys are found in the harmonic or melodic forms with altered tones. Both the harmonic and melodic minor have raised sevenths. The melodic also has a raised sixth. But the raised seventh is the keynote, because either of those altered forms will have a raised seventh. So the seventh note of the E minor scale gets raised by a half-step, which means the D goes up to D sharp. So if you have a piece with one sharp you might assume it could be in G major, which it very well might be. But you also want to investigate the possibility that it’s in the relative minor. Just count up to the sixth note of that scale to E, go to the seventh note of the E minor scale, which is D, and if you see a bunch of D sharps in your score, even though you’re in one sharp and you think you should be in G major, it could very well be in E minor. This is the way to really assess whether a piece is indeed in a minor key or a major key. Every single key signature has its associated relative minor starting on the sixth note of that major key, or going down three half-steps from the tonic note.
I hope this is helpful for you!
Study the scores of pieces you’ve played for years or pieces you’re working on. Check to see those keynotes. If you have a raised seventh in the relative minor, you’re probably in the minor key, not the major key. I hope this has taken a rather complex subject and broken it down for you so that you can investigate for yourself. It is extremely important to have the whole understanding of the score, the harmonies, and the structure. It can help with memory. It can help with sight reading. It’s not just an arbitrary exercise in theory. It has practical elements for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
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Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about the importance of volume in music. It’s interesting, as technology has grown, the use of volume to reach larger and larger audiences has ensued over hundreds of years. Originally, music was just singing, because the human voice is the first musical instrument. Then percussion instruments came along with people banging on things to make even more sound. With the invention of modern instruments like the saxophone, volume again increased. Then electronics took us to another level with how much volume is possible. But today, we’re talking about something a little bit different. The subject today isn’t about how the volume of musical instruments and musical expression has grown over generations and beyond, but how volume in your own music has a profound effect upon the listener and the emotions that are conveyed. The actual amount of amplitude, the energy of sound levels, has a profound effect upon how you feel when you’re listening to music. I’m going to demonstrate this for you with some original music to celebrate the new year. I hope you enjoy this!
See the accompanying video to hear the performance
Sometimes you can actually make a far louder message by holding back and playing delicately. The same thing is true with technology on a grander scale. I can’t tell you how many times I’ve gone into venues where the music has been so loud that you can’t really appreciate it because it’s beyond the threshold of pain! Any sound over 100 decibels is considered to be above the threshold of pain. If you go into a club, often the music is far above that level. But lower volume music actually draws listeners in! That’s the lesson for today on a personal level, as well as a global level.
I hope you’ve enjoyed this! Here at Living Pianos we wish you a great new year of music! We have plenty of great subjects for new videos in 2021, so stay tuned!
I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
For premium videos and exclusive content, you can join my Living Pianos Patreon channel!www.Patreon.com/RobertEstrin
Welcome to LivingPianos.com, I’m Robert Estrin. Today we’re going to discuss how to achieve speed and lightness in your piano playing. These two things are related. It’s simple physics really. Moving a great deal of mass takes more work than moving a smaller amount of mass. So minimizing motion in your fast playing is really the secret. I’ve talked about this with finger work, so today the focus is going to be on the wrists. The wrists are incredibly important on the piano for so many things that the fingers just can’t do because they don’t have enough power. First I’m going to give a little refresher on how this applies to finger work. Then I’m going to show you wrist technique and how minimizing motion gives you more speed and lightness with the wrists as well.
Minimize motion of the fingers when playing fast.
A piano melody, even one that is quiet, still has to project. It takes a certain amount of arm weight supported by the fingers to achieve this. This is analogous to the breath of a wind instrument or the bow of a violin. You can get a nice warm melody that projects and creates a fluid line by utilizing the fingers and the arm weight. But you can’t use that much finger motion when you want to play at a much faster tempo. You have to stay closer to the keys. Your fingers need to be close to the keys and rounded, so there’s a minimum amount of motion necessary. It makes it much easier to play fast and light.
The wrists are necessary for articulating staccatos, phrasing, accents, and chord technique.
For an example, I’m choosing a piece that I’ve taught countless times, the Ballade by Burgmuller. Students often play the staccatos with their arms, which creates a ponderous sound because the arms are so big and heavy. It’s better to utilize the wrists instead of the arms. However, trying to get the speed faster with that much motion can be incredibly difficult. But by staying closer to the keys you can play faster and lighter. When you want speed, stay closer to the keys in your finger work and use less wrist motion. Certainly don’t use the arms! The arms have a real limit of speed. Playing fast staccatos with the arms is all but impossible. But the wrists can go very fast. The wrists have much less mass to move compared with the arms, so already that helps. To get even more speed, agility and lightness in quick playing that is not just finger work, stay closer to the keys and have a minimal amount of motion. Then you’ll be able to go much faster!
Try this technique on whatever music you’re playing!
If you’re playing rapid finger work and you find that you’ve hit a brick wall, try lightening up and staying closer to the keys. In chord technique and staccatos, use the wrists, not the arms because they are much faster and more agile. And as you get quicker, stay closer to the keys and use less motion. That’s the tip for today! I hope this is helpful for you! Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
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Welcome to LivingPianos.com, I’m Robert Estrin. A viewer asked me, “How are piano competitions judged?” And it got me thinking. It’s such a subjective thing, isn’t it? Who’s better Who plays the piano better? Obviously it’s more art than science. So there’s a lot to this question. I’m going to dive right in for you! There are more fine concert pianists in the world today than ever before in history. Consider this:
In China alone there are over 40 million piano students!
Many of them are extraordinarily accomplished. And of course there are pianists all around the world. But there are a limited number of competitions. The international competitions, like the Cliburn, the Chopin, and the Tchaikovsky attract the greatest talent from the entire world.
What does it take to enter these competitions?
You have to play at such a high level to even approach these competitions because the repertoire requirements are tremendous. These top tier competitions require several complete programs, concertos, chamber music, all from memory, and sometimes there will be a piece written just for the competition that nobody’s ever seen or heard before! Instead of being able to refresh all the music that’s percolating in their heads, competitors have to immerse themselves in a brand-new piece to learn on the spot! How’s that for a challenge? Yet, there are still so many people vying for these piano competitions. The truth is, just being able to get into the semi-finals in one of these competitions is a milestone.
What is it like to compete in a piano competition?
Just like the Olympics, people prepare for months or years in anticipation of this one day. These competitions only come around periodically. Competitors might have a good day, they might have a bad day. Maybe they got a cold just the night before. The piano used in the competition might have an action similar to what they are used to and they’re right at home. Conversely, somebody else might feel off-put by the piano if it doesn’t feel anything like what they’re used to. Many of these top tier competitions, like the Tchaikovsky, offer a choice of pianos. Making that choice can be a very tough decision as well.
What are some of the things that enter into how judges evaluate one pianist to the next?
There are many things involved, but I’ve got an interesting story for you. Years ago, the wonderful concert pianist, Ivo Pogorelich, entered the Chopin competition. At a certain point, he was eliminated. But one of the judges of that competition was the great pianist, Martha Argerich who was so incensed by this, that she walked out of the competition! This made news and actually propelled Pogorelich into a career from the sheer spectacle of it all! But why do you suppose that Ivo Pogorelich was the favorite of Martha Argerich, and yet the other judges dismissed him? Well, one of the factors of competitions is that a pianist who really makes a statement and has a personality that is different from anything people have heard before will be loved by some and detested by others. In competitions, there can be a race to the center. It may be beneficial to not be extreme in one direction or another. And that’s kind of sad really. But how else do you quantify?
Tempo can play a role in how a judge may perceive a performance.
Judges are sitting there hour after hour, listening to pianist after pianist. If somebody comes in there and gives a very energetic uptempo performance, it can be invigorating! Then if somebody comes and plays a very beautiful, elegant performance, it may not have the same energy. After you hear a piece at a faster tempo, going to a slower tempo can be a let down. It sounds a little bit lifeless by comparison. This makes it very difficult to appreciate the slower performance. Though if you didn’t hear them next to each other, you might actually prefer the elegance of the slower performance! This is why many times the faster, louder player wins competitions.
But how else can you quantify who’s better? Let’s say somebody comes in and plays a Mephisto Waltz of Liszt. They play it faster than anybody else. It’s clean and it’s convincing. It’s very difficult to fault that, isn’t it? Of course, that player could play it slower if they chose to. But could the other players play it as fast? That’s an unknown. So there’s a lot to the idea of playing faster, playing louder, and playing very straightforward the way everybody expects the music to sound. I hate to think that that’s the way competitions are run, and truly they aren’t always run that way. But there is the risk of them turning out that way because of human nature.
As a performer, should you toe the line, or play to your own convictions?
You wonder how performers entering these competitions think about this. Are they going to take a chance and play the way they want to, even if they know it’s radically different from anything anyone else has done? Or are they going to play it safe and try to play for the judges? In my opinion, you really have to go for it and play to your own convictions. And that really is the lesson for today. Sometimes the winner is the person who plays to their convictions, and they play in such a way that it makes it seem as if it’s the only way the music should be played! This is not an exact science. This is art. It’s so subjective. That’s why this is an excellent question!
Keep the questions coming in! I pay particular attention to my Patreon subscribers. Those of you who want to have more input on these videos, I suggest you join my Patreon channel. www.Patreon.com/RobertEstrin
