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Does Inverting Mozart Sound Like Beethoven?

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is how Mozart can sound like Beethoven when the music is in a minor key. You might be thinking that Beethoven and Mozart have completely different musical personalities. That’s true. Even though they lived around the same time, you hear the fire and the passion of Beethoven and the elegance and sweetness of Mozart. So, what are the similarities between these two brilliant and unique composers?

Mozart wrote very few pieces in minor keys.

Mozart mostly wrote works in major keys. But the few pieces that he wrote in minor keys are among his greatest works! For example his 40th Symphony, in G Minor Symphony, or his Piano Concerto K 466 in D minor are masterworks. The few works Mozart composed in minor keys sounds a lot more like Beethoven. I have a way of proving it to you today. First, I’m going to share a brief theory lesson with you, so you can understand the significance of what I’m about to show you which is something truly extraordinary!

Major intervals become minor intervals when inverted.

This is an interesting subject and I’m going to demonstrate this. Major intervals include 2nds, 3rds, 6ths, and 7ths. They are major only when the top note is found in the major scale of the bottom note. For example, in C major if you play C and D, that’s a major second because D is the second note of the C major scale. If you invert the 2nd so the D is on the bottom and C is on top, you have a minor 7th because C is not the 7th note of the D major scale. The 7th note of the D major scale is C-sharp. So, the interval has become smaller by a half-step and is now minor. You can do the same thing with a 3rd in C major. Playing C and E, you have a major 3rd because E is the 3rd note of the C major scale. Invert the 3rd and you have E on the bottom and C on the top which is a minor 6th because C is not the 6th note of an E major scale. The 6th note of an E major scale is C-sharp. So, again, the interval has become smaller by a half-step and becomes minor. All major intervals when inverted become minor.

I’m going to play just the exposition of the famous Mozart C major Sonata, K 545. With the help of my computer, I’m going to invert it. So, every note that goes up goes down, and visa versa. What that’s going to effectively do is take this piece in the major and turn it into a whole other piece in the minor! With the keyboard switched around you wouldn’t even believe it’s the same piece! It’s all exactly the same notes and rhythms, except reversed. You can hear the minor characteristic. It sounds angry. And it sounds a little bit more like Beethoven than Mozart. Check out the video to hear this for yourself! You will be amazed. You will also hear the beginning of two sonatas both in C minor, one by Mozart, one by Beethoven. I’m not going to tell you which one is which. I want you to listen to these two sonatas and see if you can guess which one is Mozart and which one is Beethoven.

CLICK HERE TO LISTEN

It’s remarkable how Mozart takes on a very different character when played in a minor key! I’m very interested to see how all you did out there with your guesses. If you didn’t know either of these works before, I wonder how many of you got it right. Let me know in the comments! Thanks again for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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My First Chopin – Prelude in E Minor

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share with you a personal story about the first Chopin piece I ever learned. It’s a funny thing. I was in my office going through music, because we just moved a few months ago and I’m still sorting through things. And what did I uncover but a book of Chopin music. It looks just like any old Schirmer edition of Chopin Preludes. But if you open it up you can see that this is the book I used to learn my first piece of Chopin, the E minor Prelude. You can even see where my father assigned the piece to me. It’s really something after all these years to uncover this. And it brings up a few really important points.

Chopin had an incredible output for the piano.

Chopin was incredibly prolific. He wrote ballades, scherzos, polonaises, etudes, mazurkas, and many waltzes, as well as monumental concert pieces, sonatas and concertos. Yet he wrote pieces that can be approached by relatively intermediate pianists. This isn’t to suggest that these preludes are in any way lacking or aren’t profoundly deep pieces of music, because they are. That’s what made me so unbelievably enthralled. I remember when I first played this piece, I couldn’t even imagine any other piece of music, much less another piece of Chopin, being as enthralling. I was just completely in love with this piece! The funny thing is in revisiting it, I still have that same passion for it! Truth be known, I’ve played this piece many times over the years and I never play it the same way twice. I want to just talk a little bit about this unique piece which I’m sure many of you know.

The interesting thing is how simple the melody of this piece is.

If you just listen to the melody of this piece out of context, without the accompaniment, it’s one of the most boring melodies you could ever imagine. How can this possibly be a beautiful piece of music? Well, it’s the lush, rich, ever-changing harmonies undulating underneath in eighth notes that brings this piece to life. Why did Chopin write eighth notes in the left hand with a slow melody on top? It’s because of the physics of the sound of the piano itself. If you just had sustained chords in the left hand it wouldn’t really work, because when you play a chord on the piano it just dies away.

Imagine what this would sound like with a string orchestra.

So much of Chopin’s music is evocative of the human voice or sustained strings, and yet it’s all done with a percussion instrument. Did you know that the piano is technically a percussion instrument? You’re not hitting it with sticks or mallets, but indeed there are hammers that are hitting the strings! To create a singing line out of the piano is really the art and magic of illusion. And when you have a score written by Chopin, it’s amazing how he brings it to life! That’s the mood you can create on the piano. How is it possible? By listening to the ever-changing harmonies while keeping them subtle enough to draw the attention to this incredibly simple melody. Each and every note of that melody takes on profound implications because of the ever shifting harmonies. In the accompanying video I play a performance of this for you so you can hear what I’m talking about. To revisit this prelude after all these years, and to share it with you, is a great pleasure. I hope you enjoy this performance of Chopin’s prelude in E minor.

I hope you’ve enjoyed this! I will be sharing more personal stories about my childhood and my life in music that I hope you enjoy! Again, I’m Robert Estrin here at LivingPianos.com. This is your piano resource! Thanks again for joining me. See you next time!

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Creepy Music: It’s What You Don’t Hear!

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about creepy music. Let’s think about film for a minute. When I think of some of the greatest suspense and creepiness in film, I think of Alfred Hitchcock. Movies like Psycho or The Birds. In these films, it’s not what you’re seeing. It’s not thrusting upon you all this crazy stuff on the screen. Instead, it’s just in your head. You’re wondering what’s going to happen next because of the overtones and undertones. Just like in music, if you throw a bunch of stuff at someone, it might be a little bit jarring. It could even be scary! But slow and simple sounds with dissonance might just make you wonder, “What’s happening next?” Music with too much dissonance gets ugly, and there’s a place for that. Obviously we’ve all seen films that are jarring, but what we’re talking about today is something a little bit different. What I have for you is some original music that explores what this little bit of dissonance can do in music to keep you on the edge of your seat wondering what’s happening next. It’s what you don’t hear! So, I hope you enjoy this and see what you think about this. See Video for Performance

So, that’s an example of music that utilizes dissonance to create a mood.

Not a jarring or scary mood, but creepy and suspenseful. This transcends so many things. If you’re in a conversation with someone, for example, and they stop talking and they’re just looking at you, it’s very creepy after a while. It leaves you wondering, “What the heck are they thinking?” It’s much creepier than anything they could be saying. So, it’s that reserve that builds tension. In cooking it’s the same thing. You could throw a bunch of spice in something, and it could be borderline inedible. But just that little bit of spice can make a dish pop. It’s the same thing with your music. And it’s not just for this particular mood of creepy music. It’s how you parse your words in conversation, and how you delineate music without showing it all, to keep people guessing. What’s beyond? What’s coming next? And that’s one of the secrets of creating moods in music! I hope this is helpful for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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How to Play the Piano Without Looking at Your Hands

Welcome to LivingPianos.com, I’m Robert Estrin. The topic today is about the magic of the five finger position on the piano. This is particularly important for beginning students. First I’m going to explain what I mean. Put your five fingers over five keys, for example right now I’m over C, D, E, F, G in both hands. Interestingly, when young students are playing, you’ll notice that they will constantly be looking down, even if they are in a five finger position. But the keys aren’t going to go anywhere! If you just leave your hands in this position you should be able to have your eyes closed and play whatever key you want. This is a great way to develop reading skills, because you know which fingers go down in each hand in order to play those five notes.

Of course, it can be shifted to other keys.

You might rest your fingers over G, A, B, C, D. Whatever the position, once you are comfortable in that position you should be able to play without looking down at your hands at all. This is invaluable, because as music gets more complex you can do things like reach one note beyond. It’s not a far reach to be able to play one key beyond in one hand or the other. Getting that sense of the keyboard, of where the notes are and where your hands are on them without having to look down is so important. And if you don’t do it in the five finger position when you first start, you’ll likely never do it. So it’s really important to get comfortable playing in that position without having to look down at your hands, to develop your connection between your fingers and the keyboard, irrespective of looking at them.

That is the secret of the five finger position!

There’s amazing things you can do just with five keys on the piano! So test yourself. Close your eyes and play, and see if you can hit the keys you intend to hit. Naturally, if you’re at a more advanced level, go back to some easier music. If you find your reading skills are really lacking, try to find books that are in that five finger position and sight read without looking down at your hands at all. Get comfortable with that, and build up from there. This could be a tremendous help for you to develop your sight reading skills with that connection to the keyboard just from the feel of the keys. I hope this is helpful for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Learn the Piano While You Sleep?

Welcome to LivingPianos.com, I’m Robert Estrin. The question today is very thought-provoking. Can you learn to play the piano while you sleep? This might sound absurd, but there’s actually scientific evidence supporting the idea that there is a possibility of learning music while you sleep!

There was a study where researchers taught a group of people to play piano melodies using a technique borrowed from the video game Guitar Hero. Afterwards, all the volunteers slept. When they woke up, they were all asked to play the music again. Unbeknownst to the sleeping participants, one group heard the melody they had just learned as they slept, while the other group did not. The volunteers who heard the music while they slept, even though they had no memory of it, played the melody far better than those who didn’t hear it. So indeed, you can absorb some information while sleeping.

Things you think about just before bedtime can seep into your subconscious.

There have been other studies showing how what you think about just before going to bed affects you. Now you probably are already somewhat aware of this phenomenon. Did you ever think of scary things before going to bed? Maybe you watched a horror movie before bed and then had nightmares. So, you can actually leverage your practice time by doing some practicing, or at least mentally refreshing the music you learned during the day, just before going to bed. That way it’s percolating in your head and will get reinforced.

Sometimes I will have music going on in my head all night long!

Every time I wake up, I’ll still be at that same place in the music. The same themes keep playing mentally. Indeed, your subconscious is affected by your consciousness just before bedtime, and even while you’re sleeping. I’m not sure if there’s any way of leveraging the time you’re asleep by playing recordings of pieces you are learning. But certainly refreshing the music you played throughout the day just before bedtime is going to help you reinforce things by cementing it in your subconscious.

I bet you didn’t expect this, but there are scientific studies proving this phenomena. I do it all the time! Sometimes I actually come up with music in the middle of the night. Surprisingly, I’ll play it through a few times in my head and in the morning I still remember it! So, you can cement things through your sleep, by just refreshing before bedtime. Try it out and see how it works for you! Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
Please consider joining the Living Pianos Patreon to help support us and get access to extra Living Pianos content!

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