Tag Archives: piano lessons

Can You Learn to Play Piano from YouTube?

This is a great question and one that is becoming more and more relevant every day. Many of us simply search Google or YouTube to solve everyday problems; so why not do the same for piano lessons? Now it might seem like I have a vested interest in this subject, yet, you may be surprised at my perspective.

Someone came into the store recently and they were playing all sorts of repertoire – some of it extremely advanced. To my surprise, he had never taken any formal piano lessons; he couldn’t even read music at all. He had learned to play some complex pieces by simply watching his player piano at home and copying how it played!

I have also met people who have learned to play piano repertoire in a very similar way watching YouTube videos of people playing. They watch some videos where the player will film the keys as they play an entire piece. Some determined viewers will watch videos and simply copy what they see on the screen bit by bit. Surprisingly, this system can work. But is it really a substitute for piano lessons?

While this type of learning can help you learn a piece, it’s only one component in learning to play the piano. There is really no substitute for a great teacher and the wisdom they can impart. Learning to play the piano is a lot more than simply copying which keys are pushed down. More than that, being able to read and comprehend music can offer much greater efficiency in fully digesting a piece since you can access specific parts of the piece instantly instead of having to watch through sections finding what you need.

Even with private lessons, you won’t become a fine pianist by just taking lessons. You will need to practice, to listen to music, to see live performances, to live and breath it. It has to be an integral part of your life.

So can you learn to play the piano on Youtube? That’s really open to debate but you can certainly learn a lot by watching videos and practicing along with them. If you use YouTube videos in conjunction with other resources, you will benefit greatly.

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

Piano Lessons: How to Play Bach’s French Suites – Part 2

Welcome to our ongoing series covering Bach’s French Suites. Last time we covered the Allemande section of the 5th French Suite in G major. Today we will be covering the 2nd movement, the Courante, which is a very difficult movement.

The biggest thing I recommend is playing the eighth notes staccato and the sixteenth notes legato. Not only does this add more energy to the piece but it actually allows you to play the notes a bit slower – when you play the staccato short it gives the impression of a faster tempo than what you are actually playing!

This is actually a trick I learned from listening to Vladimir Horowitz many years ago. He would play notes so cleanly and detached that it sounded faster than everyone else. If you put a metronome to his music though you would realize that this wasn’t always the case.

So why is this technique so effective. One of the reasons is because it brings out the difference between the lines. With the sixteenth notes being legato they are distinctly different from the staccato eighth notes.

The biggest thing to mastering this piece – like any other – is effective practice. When it comes to this piece in particular you will want to practice it very slowly. During your slow practice you will want to exaggerate the difference between legato and staccato; so when you speed up the piece the difference will still be there.

You should really go through the whole piece like this and have the patience to practice it with the metronome. You should gradually bring the piece up to speed but only after you can absolutely master it at a certain speed before increasing it. It’s important to play it cleanly and relaxed. Do not make the mistake of increasing the speed before you are ready.

When it comes to ornamentation I like to use it to enhance certain sections of the piece. In the fourth measure, there is an f sharp and I like to add a trill to it. You will notice if you listen that I always measure the trill; your trill must always be measured. While it might seem like free expression, you will always want it to fit properly within the music and the tempo and it must be measured.

How to Play Bach’s French Suites – (Part 1) Allemande

Johann Sebastian Bach did very little traveling in his life. Despite him having a wide range of music that spans many cultures, he never actually traveled to France or very much outside of Germany.

The Bach French Suites are based upon music Bach heard in concerts of musicians traveling from France. Bach was known for being able to imitate nearly any style of music and compose music that would be considered some of the best for each particular style.

The French Suites are based upon dance forms and while people might not have been dancing to his performances at the time, they do have a certain flavor and style that imitates popular dance music from the time.

In this series we are going to cover the 5th French Suite in its entirety. Today we will be dealing with the first movement, Allemande. I want you to notice that I don’t use the sustain pedal – I’m playing everything with only the fingers. Why is this? There is a good case for this since Bach played mostly on the clavichord, harpsichord, and organ and had very limited experience with early pianos which had no sustain pedals anyway. As a result, it’s not necessary to utilize the sustain pedal while playing Bach’s music.

Pay special attention to the counterpoint (VIDEO: What is Counterpoint?) and how the lines intertwine with one another. Also intrinsic to the style is the ornamentation which is indicated with various markings in the score. (VIDEO: How to Play Ornamentation).

You may notice that in all the French Suites the music is in A – A, B – B form. Meaning that you have a section that repeats and then a second section that also repeats. All the movements in the French Suites have a similar structure. The second section tends to be a bit longer than the first section but sometimes they are about the same length.

There is no phrasing or dynamics written into the music. This doesn’t mean that you shouldn’t include any dynamics or phrasing, it means that it’s up to you how to approach the music. You must decide how to delineate the notes deciding how the notes are attached or detached and how to bring out the separate lines of music dynamically.

For example, in this particular piece, I play the 8th notes staccato, which allows for delineating the lines. Without doing this it’s hard to tell which line is which – they all blend together! You should also embellish the music with the free use of ornamentation. For example, in the beginning of the piece I include some trills to liven up the music; without it, the lines sound a little dull. Everything about the Baroque era has ornamentation. It’s a product of the time and is evident in the music, art, architecture and even the clothing style.

Thanks again for joining me and make sure to be on the lookout for the other parts in this series on Bach’s 5th French Suite.

When to Use the Soft Pedal on the Piano

The soft pedal is something that every pianist must learn to utilize effectively. While it’s commonly referred to as the “soft pedal” its actual name is the una corda pedal. Today we are going to discuss when and how to use the soft pedal effectively in your music.

Una Corda actually translates to “one string”. On older pianos, there used to be two strings for each of the notes. By pressing the una corda pedal you would move the hammers over so they would only strike one of the strings. New pianos are a bit different as they have three strings for each note for most notes of the piano. So, when you press the soft pedal it will move the hammers over and they won’t strike the strings in the middle of the hammers, so it produces a mellower tone.

True una corda or soft-pedals only exist on grand pianos. An upright – even with a third pedal on the left – does not truly simulate the effect of an una corda pedal. You can see this because when you depress a true una corda pedal, the keys of the piano will shift slightly to the right. On upright pianos, the soft pedal does different things, but typically it brings the hammers closer to the strings changing the touch, not the tone.

In the video above I demonstrate the effect of the una corda pedal by playing the Chopin movement from Schumann’s Carnival. I provide an example with and without the una corda pedal. You will notice that not only is the music softer but the tone is a different color.

When used properly, the soft pedal is an extraordinarily expressive device that can add new color and depth to your music. So when do you use it?

In the example I play from the video, the same theme is played twice in a row. When I repeat the theme and use the soft pedal it creates a new and different sound. It’s a really beautiful way to highlight certain sections of your music.

But using the soft pedal really is not that simple. While the example above is a good spot to utilize the soft pedal, its effect won’t be the same on every piano. This is because not all soft-pedals are the same. Every piano will have a different response when using the soft pedal. Some pianos might not produce much of an effect at all while others will produce a very dramatic change in tone. It’s very important to get to know the effects of your soft pedal whether you are playing your piano at home or performing on another piano. Room acoustics, audience noise, and many other factors can determine whether or not the soft pedal is appropriate. Many times I have performed on pianos that were a bit too bright and border on having a harsh tone. When faced with this problem I might use the soft pedal a great deal to sweeten the tone and produce a better sound out of the instrument. Sometimes you might encounter a piano that is too mellow and you might want to use the soft pedal very sparingly.

It’s important to remember that the soft pedal is not something you can simply write into your music and play at the same point on every piano. This pedal is something you should employ at times when a tonal change is suitable. As you grow and progress as a pianist you will find yourself using the soft pedal when it’s appropriate and being able to make these judgment calls for yourself.

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

What is “Subito Piano” in Beethoven?

If you’ve played Beethoven you might be familiar with this term. It permeates throughout his music and it’s a very important but sometimes misunderstood term. Many people might overlook its importance but we are going to discuss this today and I will offer some insights to help you achieve a true subito piano to great effect!

Subito Piano means “suddenly soft”: Subato means “suddenly” and piano means “soft”. This is a big trademark of Beethoven’s writing. A lot of times you will see a crescendo going to piano (which might seem counterintuitive) but Beethoven employs this method in a lot of his music. He builds up the music with a crescendo only to suddenly bring it down. If employed properly the effect is wonderful!

A lot of people have the tendency to avoid this notation and simply smooth out the dynamics. This is certainly not playing it as intended and if you listen to any number of examples in which subito piano is performed properly, you will see how powerful and immersive it can be. For the example, in the video above I use the first movement of Beethoven’s Moonlight Sonata.

You can really appreciate this by hearing the example provided in the accompanying video posted above.

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

How to Play Unmeasured Cadenzas on The Piano (Chopin, Liszt)

You’ve probably seen this in a lot of Chopin and Liszt compositions. Instead of having measured notes, there are a ton of very tiny notes that on the surface might not make much sense at first. You’ll have ridiculous combinations like 11 notes against 6 – which simply can’t be divisible in any precise way. So how do you play these passages and what do they mean?

In the video example above I use the beginning of the B-flat minor Nocturne of Chopin. Right at the start of the piece (the second statement of the theme) has a section just like I’ve described above. There are a whole bunch of notes (11 against 6) that are not divisible. So how do you play these passages?

The best way to practice these sections is to try to find the closest measured way you can play it. The first thing you should do is divide it out as close as it mathematically can work. If you play it as measured as possible – trying to find places where you can put in the extra notes – you will start to get a better feel for the passage. You might notice that playing these passages measured will result in a passable sound but it’s not exactly accurate and it may not sound very fluid. When played correctly, these unmeasured cadenzas are almost like improvisations and that’s the feel and sound you want to achieve.

The next step after you’ve broken these passages into a measured approach is to loosen it up a bit. Get used to playing these cadenzas measured and from there you can start to break them up and make the sound a bit more fluid. The final product doesn’t have to be mathematically perfect; the goal is to create a musical feel. The left hand should maintain the pulse and the right hand should be able to play with freedom – like an improvisation. Keep working on this until you get a result that sounds natural.

If you have any more questions about this topic or any topic at all, please contact me directly. Thanks again for joining me Robert Estrin Robert@LivingPianos.com (949) 244-3729.