Tag Archives: music theory

5 Secrets to Playing Chopin’s E-flat Nocturne

Welcome to LivingPianos.com. I’m Robert Estrin. Today I’m going to show you how to play Chopin’s most famous nocturne, the Nocturne in E-flat Major, with real expression. It’s one of the most beloved piano pieces ever written, and there are some special techniques that will help you bring out its beauty.

Balancing the Hands

One of the greatest challenges in this piece is achieving balance between the hands. The melody must always sing above the accompaniment. To do this, use the weight of your arm in the right hand while keeping your left hand very close to the keys. The left hand should use the smallest possible amount of arm weight. If you let the left hand move too much, it will become too loud no matter how softly you try to play. Staying close to the keys keeps the left hand subdued while allowing the right hand to project the melody. Even though the piece is quiet, the melody must still carry energy and intensity. Concert pianists use a surprising amount of controlled weight in the right hand to achieve a rich, expressive tone. If you simply press with your fingers, the sound will be thin and harsh. Transferring the weight of the arm smoothly from key to key lets you produce a full sound without losing the sweetness and lyricism that define this nocturne.

Practicing the Left Hand

After playing the initial low note in the left hand, get your hand positioned over both of the chords that follow. You can even practice this by playing the chords together, so your hand learns to stay close to the surface of the keys. Being directly over the chords means you can play with minimal effort and maintain control over the balance.
Shaping the Phrase

Balance isn’t just vertical between the hands; it’s also horizontal across time. The melody must have shape. Most phrases rise toward the middle, reach a peak, and then gently fall away. Think of how a singer or wind player shapes a line in one breath, letting the sound rise and fall naturally. If every note is played at the same volume, even with perfect balance, the music will sound flat and lifeless. Instead, let each phrase rise and fall naturally. Build up to the middle of the phrase, then relax as it resolves. This ebb and flow gives the music a natural breath and flow.

Using the Pedal

Take care in using the pedal. It’s really an art to bring out the bass line and the chords without blurring the harmonies together. As the harmonies change, you must adjust the pedal, capturing those deep bass notes while keeping the inner chords and melody distinct. Done well, this creates the effect of almost three separate voices: the bass notes, the accompanying chords, and the singing melody. Capturing the bass notes with the pedal adds depth and richness to the overall sound, giving the piece its characteristic warmth and resonance.

The Art of Rubato

Rubato, the slight flexibility of tempo, is central to Romantic-era music like Chopin’s. A little speeding up and slowing down gives life to the music. It isn’t appropriate for composers like Bach or Mozart, but in Chopin it’s essential!

The key to good rubato is that you never actually gain or lose time overall. You stretch a little here and give it back there, like breathing. If you play the nocturne strictly in time, it sounds mechanical and lifeless. A touch of rubato draws the listener in, like cresting a gentle hill and feeling gravity pull you down the other side. If someone listening can’t tap along with the beat, the rubato has gone too far. The pulse must always be felt, even as the tempo bends slightly. That balance between freedom and structure is what gives Chopin’s music its soul.

Ornamentation and Trills

The nocturne includes trills, mordents, and small ornamental figures that sound spontaneous but should be practiced rhythmically to ensure consistency. Even though they sound free, the underlying rhythm must be solid. For example, in the second measure, there is a turn that can be easily facilitated as five equal notes. You might choose a slightly different way of executing it, but the key is to make it reliable. The same principle applies to trills later in the piece. Decide how many notes you are playing, and make sure you can perform them cleanly each time. Being consistent and secure is more important than trying to play a lot of notes.

Bringing It All Together

To summarize: keep the right hand supported by arm weight and the left hand close to the keys for control. Shape each phrase with a natural rise and fall. Capture the bass notes with the pedal while keeping the harmony clear. Use rubato tastefully to give life and motion to the music. And treat ornaments as measured, expressive decorations rather than random flourishes. These techniques will not only help you play Chopin’s E-flat Nocturne with true expression, but they will also enhance your playing in other Romantic works. With careful attention to balance, phrasing, pedaling, rubato, and ornamentation, you can bring a new level of beauty and depth to your performances.

If you have questions or insights about playing Chopin’s nocturnes, share them in the comments here at LivingPianos.com—Your Online Piano Resource. Thanks for joining me.

Why You Must Practice Your Scales and Arpeggios in 4 Octaves


Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re talking about why it’s so important to practice your scales and arpeggios in four octaves. You might think playing scales is just the same thing over and over again. If you can play them in one octave, can’t you just repeat that pattern in another register? It might seem that way, but the reality is more nuanced.

The Angle of the Hands Matters

When you play in the lower or higher registers of the piano, the angle of your hands changes. This shift impacts your technique. If you only practice in one part of the keyboard, you’re not fully developing the flexibility and control needed to navigate the entire instrument. Practicing across all four octaves helps you gain fluency moving up and down the keyboard smoothly and confidently.

Posture and Bench Positioning Are Key

To practice four-octave scales and arpeggios effectively, make sure you’re sitting properly. If you’re too close to the piano, your arms and wrists are forced into awkward angles, making it difficult to play evenly across the keyboard. Sit back far enough so your arms can extend comfortably in front of you. This posture allows for better movement from one end of the piano to the other. Many students make the mistake of sliding side to side on the bench as they play. While this might help you reach the keys temporarily, it’s not a sustainable solution. Instead, find a central position on the bench with the correct height and distance so you can access the full keyboard without shifting your body constantly.

Use the Metronome and Take Your Time

When you’re ready to begin, start slowly with the metronome. Work through your scales and arpeggios at a comfortable tempo. Focus on accuracy and evenness. Gradually, you’ll build speed and confidence. Practicing all major and minor scales and arpeggios over four octaves might seem overwhelming at first, but it doesn’t have to be. Take one scale per week. If you stick with it, you’ll eventually cover them all. There’s no rush. You have your entire life to enjoy playing the piano! And the benefits of mastering these foundational exercises are enormous.

The Long-Term Rewards

If you’ve already gone through the process of learning all your scales and arpeggios, you know how transformative it can be. It dramatically improves your technique, your sight-reading, and your overall ease at the keyboard. Share your experience in the comments on LivingPianos.com and YouTube. Your journey can help encourage others who are still working toward this goal. For those of you still in the process, be inspired by those who have completed it.

A Solid Foundation for Musical Freedom

Learning all your scales and arpeggios is a game changer. When you’ve already mastered them, you don’t have to relearn them every time they appear in your pieces. And practicing in all octaves gives you a solid technical foundation. You’ll be amazed at how much easier music becomes when the patterns are already second nature. The time you invest in this kind of practice pays off many times over, giving you a sense of fluency and freedom at the keyboard that far exceeds the effort you put in.

Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

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.

Why Performers Never Sneeze: (And My Student’s SHOCKING Nose Disaster!)

Welcome to LivingPianos.com, I’m Robert Estrin. Have you ever noticed how rarely performers sneeze during a performance? Whether it’s a solo piano recital or a lengthy musical piece, sneezes seem almost non-existent. But why is this the case?

The Power of Concentration

One reason might be the intense concentration that performers experience. When musicians are deeply focused on their performance, their awareness of physical sensations, including the urge to sneeze, seems to diminish. This level of focus can be so absorbing that it overrides many of their bodily functions.

A Fascinating Story from the Stage

To illustrate this point, let me share an intriguing anecdote about a former student of mine. While he was still a teenager, he gave a remarkable performance at a recital. In the middle of a particularly demanding Beethoven piece, something unexpected happened—he started to experience some nasal congestion.

As he continued to play, his nose began to run. Despite this discomfort, he had no choice but to continue performing. His dedication was evident as he played on with remarkable skill and composure, even though the long string from his nose had to be devastating for him!

Limits of Control

This experience highlights an interesting fact: even with immense concentration, some bodily responses are beyond our control. Though sneezing is a natural reflex, the ability to control it completely during high-stress situations like performances remains limited.

Have You Ever Seen a Performer Sneeze?

It’s worth asking: Have you ever witnessed a pianist or any instrumentalist sneeze while performing? It’s a rare occurrence, and for wind players, it could be quite problematic. Nonetheless, it underscores the remarkable focus and discipline required of performers.

Thanks for joining me in exploring this unusual aspect of performance. If you enjoyed this insight and want to see more content like this, consider subscribing to the channel. Your support helps bring more interesting and informative videos to a wider audience. Feel free to share your thoughts and experiences—have you ever seen a performer sneeze during a recital? Let us know 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

7 Piano Techniques Every Pianist Should Know: Russian, German, French & More!

Welcome to LivingPianos.com, I’m Robert Estrin. Today, we’re diving into the intriguing world of piano techniques. Over time, various philosophies and methods have emerged, each highlighting unique aspects of piano playing. Let’s explore some of the most renowned schools of piano technique and their distinctive characteristics.

The Russian School

The Russian school of piano technique is renowned for its emphasis on weight transfer, relaxed arm movements, and natural hand positions. This approach encourages pianists to utilize their entire arm, resulting in a rich, powerful tone. Esteemed pianists like Sergei Rachmaninoff, Vladimir Horowitz, and Sviatoslav Richter exemplify the strength and expressiveness that this technique can achieve. My own background is influenced by this tradition, as my father, Morton Estrin, studied with Madame Vera Press, a student of Russian technique. This foundation has greatly shaped my teaching approach.

Rachmaninoff – Prelude in C Sharp Minor: Op. 3: No. 2

The German School

Known for its precision, clarity, and finger independence, the German school of piano technique focuses on firm finger action rather than arm weight. This technique is exemplified by the works of Carl Czerny, Ludwig van Beethoven, Clara Schumann, and more contemporary pianists like Wilhelm Kempff. The German approach is particularly effective for mastering intricate finger work and clear articulation, making it ideal for the contrapuntal works of Bach.

Beethoven’s Tempest Sonata mvt. 3 — Wilhelm Kempff

The French School

The French school is celebrated for its emphasis on lightness, clarity, and finger dexterity. Pianists trained in this tradition often produce a refined, delicate touch, as seen in the ethereal tones of Claude Debussy’s music. Key figures such as Alfred Cortot and Walter Gieseking have demonstrated the shimmering, impressionistic sound characteristic of French pianism. This technique is especially suited for impressionist compositions.

Maurice Ravel Gaspard de la Nuit – Walter Gieseking

The Italian School

Distinct from other schools, the Italian school emphasizes lyricism, expressive phrasing, and a beautiful, singing tone on the piano. This technique, inspired by the operatic tradition, aims to achieve a cantabile style. Notable proponents include Arturo Benedetti Michelangeli and his student, Ivan Moravec. Their performances are known for their highly expressive and vocal-quality.

Chopin, Ballade in G minor, Op. 23 – Arturo Benedetti Michelangeli

The English School

Similar to the French school, the English school often highlights a more rounded, legato style. It focuses on clarity of tone, rhythmic precision, and expressive phrasing. Pianists like Myra Hess and Clifford Curzon have incorporated these elements into their performances, resulting in music that is both fluid and lyrical.

Myra Hess plays Jesu, Joy of Man’s Desiring

The American School

The American school represents a blend of various European traditions, including Russian, German, and French techniques. This approach creates a versatile and individualized style, allowing for a broad range of interpretive choices. Prominent pianists such as Van Cliburn and Murray Perahia embody this eclectic approach, which reflects a synthesis of different techniques.

Van Cliburn – Liszt: Un sospiro

The Taubman Approach

Although not a traditional school, the Taubman Approach, developed by Dorothy Taubman, focuses on ergonomic, injury-preventive piano playing. This method promotes natural, coordinated movements, aiming to make piano playing easier and free from tension. It’s particularly beneficial for pianists seeking to minimize physical strain and improve overall comfort.

Dorothy Taubman – The Taubman Approach

Conclusion

In summary, there are seven notable schools and approaches to piano technique, each with its own philosophy. Many modern pianists draw from multiple techniques, blending elements to develop a style that suits their individual preferences and repertoire. Which technique resonates most with you? Do you favor a particular school, or do you incorporate elements from various traditions? 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. Thanks for joining me!

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

Bad Piano? Fix, Sell, Remove, or Discover a 4th Option!

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s question is: What can you do with a bad piano? Having a piano that doesn’t meet your expectations can be frustrating, whether you want to restore it to its former glory or simply need to find a new home for it. This article explores two primary scenarios you might face with a less-than-ideal piano and provides practical advice for each.

Restoring a Piano to a Higher Quality

If you’re hoping to transform your current piano into a better instrument, there are a few steps you can take. First, consider consulting a piano technician. An experienced technician can assess whether your piano, which might have been a high-quality instrument in its prime, can be restored to a better state with some servicing.

However, if your piano is significantly deteriorated and requires major repairs, be prepared for potential challenges. Restoration can be costly and may not always yield predictable results. The end product might feel and sound quite different from your original piano, and the costs involved could exceed the value of the instrument.

An alternative approach is to sell or trade in your piano. Many piano dealers, such as Living Pianos, accept trades and can help you find a replacement that better suits your needs. This option allows you to know exactly what you’re getting with your new piano.

Dealing with an Unwanted Piano

If you have a piano that you no longer wish to keep, perhaps because it’s been neglected or simply takes up space, there are several options to consider:

1. Selling the Piano: The possibility of selling the piano depends largely on its condition. If it doesn’t look or sound good, finding a buyer might be difficult unless it’s a high-end brand like Steinway or another premium brand with restoration potential. For a lower-end piano, platforms like Facebook Marketplace, Craigslist, and eBay are good starting points.

2. Listing for Free: If selling the piano seems unfeasible, consider giving it away. Websites like PianoAdoption.com can connect you with individuals who might be interested in taking the piano off your hands.

3. Professional Disposal: As a last resort, you might need to arrange for the piano to be professionally disposed of. Unfortunately, many pianos end up in landfills each year, which is a disappointing end for instruments with potential.

Additional Considerations

If the piano you’re dealing with is from a lesser-known brand or one that’s no longer manufactured, you might face additional hurdles in finding someone willing to restore it. Some companies specialize in high-quality American pianos, but many may not undertake restoration for brands that are not widely recognized.

If restoration or selling doesn’t seem viable, consider creative repurposing. Some people transform old grand pianos into unique furniture pieces, such as using the case as a bookshelf or installing a digital piano inside the original frame for a blend of traditional and modern aesthetics.

PIANO REPURPOSED

Whether you’re looking to restore a piano to its former glory or need to find a new home for it, understanding your options can help you make the best decision. From professional assessments and repairs to selling, giving away, or repurposing, there are several ways to handle a less-than-ideal piano. If you have any other ideas about what to do with an unwanted piano, leave them in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me!

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