Tag Archives: piano lessons

How to approach the Ocean Etude Op. 25 No. 12 by Chopin

Today we have an answer to a viewer question about how to practice Chopin’s Ocean Etude. Chopin wrote two books of etudes, brilliant works. Incidentally, there are two types of etudes in this world, those that strictly exercise, and those that explore technical problems in great pieces of music. And the Chopin etudes are certainly in the latter category of monumental compositions that tackle different technical challenges.

Learn to Play Piano – Chopin Prelude No. 6 (B minor)

Welcome to my second part in a series offering tips for the Chopin Preludes. Last time we covered Prelude No. 4 in E minor. This lesson I will be exploring the Prelude No. 6 in B minor.

In the last lesson we discussed how to bring out the melody in the right hand by achieving a true legato utilizing a constant weight of the arm. Today’s lesson is similar but reversed; in this prelude the melody is in the left hand!

This lesson will require you to incorporate the weight of the left arm primarily in order to create a lush and fluid sound while bringing out the melody. When it comes to playing a string or a wind instrument, there is a natural progression of ups and downs. Whether it’s the continuity of the breath or the draw of a bow, the music must always be going somewhere, either growing or dying away. This is possible to achieve on the piano by increasing and decreasing the weight of the arms.

Rather than relying on calculated movements to get louder and softer, use the weight of your arms to recreate the sensation of breathing or using a bow. When you play a note, press into the key and make yourself believe that it’s going to sustain the note like a wind or string player does. You might be surprised at the results you achieve. In the video accompanying this article I demonstrate this technique.

As with any music you are performing, using the pedal as a crutch to cover up sloppy playing should never be an option. If you intend to learn this piece correctly and make it sing, you will need to achieve a true legato in both hands without the use of the pedal. Because of this, you will want to practice, learn and memorize this piece without using the pedal at first. Later when you feel confident in the sound you produce, you can add the pedal to create an even richer sound.

Another practice method (that we also discussed last time) is holding out the chords wherever possible. Instead of playing all the chords as written, hold the repeated chords out instead of replaying them – so you can get a sense of the best fingering when switching between chords. You will find ways to maneuver your fingers and hands in ways that will connect the notes much better and create a seamless sound. It’s always a great idea to reduce your music to chords first – this way you can get a better idea of the fingering while gaining a better understanding of the harmonies.

Thanks again for joining me. If you would like more information about this piece or any others, we are currently in the midst of producing some thorough tutorials instead of just these helpful pointers. If you would like to be notified about these lessons please send me an email requesting more information at Robert@LivingPianos.com (949) 244-3729

Piano Lessons: Chopin Prelude No 4 (E minor)

Welcome to my ongoing series dedicated to specific pieces of repertoire. Today we will be covering the Chopin Prelude No. 4 (E minor). This was actually the very first piece of Chopin I ever studied so it holds a particularly special interest for me. As a kid I remember thinking that this was the most beautiful piece I’d ever heard and I couldn’t imagine playing anything better. Of course as time went on my tastes expanded, yet this piece is still one of my all-time favorites.

This is actually a very odd piece of music. If you just play the melody without the chords you will notice that it’s surprisingly simple. The real genius of this piece lies in the harmonization; the left hand has some truly exquisite chords. While the chords are extremely important, you will still want the melody to sing above everything else.

A very big mistake when it comes to playing the piano is continually using the pedal as a crutch to cover up sloppy playing. If you intend to learn this piece correctly and make it sing, you will need to achieve a true legato in both hands without the use of the pedal. Because of this, you will want to practice, learn and memorize this piece without using the pedal at first. Later when you feel confident in the sound you produce, you can add the pedal to create an even richer sound.

Another practice method is holding out the chords with the left-hand. Instead of playing all the chords as written, hold the repeated chords out instead of replaying them – so you can get a sense of the best fingering when switching between chords. You will find ways to maneuver your fingers and hands in ways that will connect the notes much better and create a seamless sound.

When combining the hands, you will want to make sure you get an extreme legato. I can’t tell you how many times I hear people playing this piece by simply using the pedal and playing short chords. While it might sound OK, it’s really not the best sound. You will create a much better sound if you use an extreme legato in both hands to allow the melody to sing above the thick chords. Use a constant arm weight supported by your fingers to bring out the melody in the right hand.

There really are dozens of different ways to perform this piece. If you search on YouTube you can find a number of different interpretations from incredible pianists. While the phrasing can change, you will always want to be rising or falling; the music must always be going somewhere.

Thanks again for joining me. If you would like more information about this piece or any others, we are currently in the midst of producing some thorough tutorials instead of just these helpful pointers. If you would like to be notified about these lessons please send me an email requesting more information at Robert@LivingPianos.com (949) 244-3729

How to Improvise With Christmas Music

Happy Holidays everyone! If you’re a pianist (or a musician of any sort) you may be called upon by either family or friends to perform something for them this season. It might be fun to be able to accompany as people sing holiday favorites! While you may not have time to practice Christmas music, I have a simple solution for you!

Find some of the easiest Christmas music you can and make it your own by improvising! This is both an easy and fun way to present some holiday cheer as well as a way to practice your improvisation skills. In the video attached to this article, I use a song you can find on Virtual Sheet Music. There is a wide selection of Christmas songs available on the site and they have different arrangements for each of them (ranging from very easy to very difficult).

When it comes to improvising, the most important thing is being intimately familiar with the song. The great thing about using Christmas music is that you’ve heard them so many times; it’s perfect to improvise with!

In the video, I use the song “Greensleeves” (commonly known as “What Child is This”). I chose the easiest possible arrangement so it’s easy to read. You will hear an example of the music played exactly as written first and then a few improvised versions to see what is possible.

But how can you improvise on the written music? The beauty is that you can embellish any way you like! Don’t be afraid to experiment adding notes and altering rhythms. Then you can try to use play the left hand descending harmonies and make up a totally new melody on top! Or have someone play the left-hand part while you make up a melody. The only rule when it comes to improvising with this type of music is to have fun. Everyone you’ll play for will appreciate your efforts, so enjoy!

Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Play Chopin Prelude No. 7 in A Major

Welcome back to my ongoing series featuring the Chopin Preludes. In past lessons I’ve given tips on Chopin Prelude No. 4 (E Minor) and Chopin Prelude No. 6 (B Minor). Like these past lessons, I will be providing a few tips for this Prelude. If you want more advanced lessons, you are in luck as I will be producing some advanced courses on selected repertoire very soon; to get more information please email me directly at Robert@LivingPianos.com.

The thing that makes this particular Prelude so special is that it’s short in length but rich in depth. So what is the best way to approach this piece?

You might have noticed that this piece is broken into short sections with slur markings over each phrase. If you watch the video attached to this article you will notice that I utilize a lifting motion to begin each phrase. I also employ a technique which brings out the top notes for more expressive playing.

Lifting is a method you must employ that replicates how wind and string instruments begin playing phrases. I have played the French horn for many years and one of the most striking differences between playing the piano and playing wind instruments is how you start the first note of a phrase. When playing the French horn, you have to prepare yourself for the first note by taking a big breath and starting the note with the tongue. On the piano you can play a note simply by pushing the key down! How can you prepare yourself to produce the precise sound you are after?

Here is a lifting technique that is simple and effective for beginning a phrase with the exact sound you have in mind:

First, start with a limp wrist, then bring your arm down to the keys while straightening up your wrist. This creates backwards leverage which produces a slower release of the note giving you more control. If you use this technique you will soon notice that you have absolute control over the start of your phrases.

In addition, each one of the phrases in this piece should have a rise and a fall – just like a breath. It is vital that you avoid remaining static with your playing; you should always be either rising or falling.

Bringing out the top notes is another extremely valuable technique for expressive playing. When you are playing quietly it is necessary to delineate the top notes to make them stand out; otherwise the melody gets lost. The general rule is, the quieter you play, the more difference there must be between melody and accompaniment. When you play louder, this isn’t a problem since top notes will come through. However, when you are playing quietly, you need to reach with your fingers to delineate the top notes and make them sing.

Thanks again for joining me Robert Estrin Robert@LivingPianos.com. If you want more information on the upcoming advanced videos I have planned please email me.