You probably know that the hammers are responsible for striking the strings on the piano and producing a sound. The dampers are the pieces of wood covered with felt that lie above the strings and are responsible for ending notes. When you play a note
If you’re familiar with pianos, you probably know they can be very expensive musical instruments. Many potential buyers might experience some sticker shock upon their first trip to a piano store. Grand pianos can range anywhere from a few thousand dollars to hundreds of thousands of dollars! With so much range in price, how do you find the piano that is right for you and your family?
Digital Pianos
The most inexpensive option are digital pianos. A digital piano is not the same thing as a keyboard but they can look very similar. You can find a functional keyboard for as low as a hundred dollars at some stores, but if you want an actual digital piano you will have to invest more.
What makes a digital piano? Here is a quick rundown of what to look for.
88 Keys. A standard piano keyboard has 88 keys and you shouldn’t compromise on that when it comes to buying a digital instrument.
Weighted keys: Select keyboards can have the same weight as found on grand pianos. Have you ever played a keyboard with almost no resistance to the keys? It doesn’t feel like playing a piano does it? Weighted keys simulate the press of real piano keys, and may be the next best thing to having a real piano to practice on. More importantly, it will help you develop strength to play any piano.
Stand and Speakers are pretty standard on digital pianos (as opposed to keyboards). A lot of digital pianos are built to look like upright pianos and have integrated stands.
Having 3 Pedals isn’t essential, but certainly offer a nice addition to simulating the experience of playing an acoustic piano.
So how much does a decent digital piano cost? Plan on spending a minimum of between $500-$1,000 for a decent instrument and more for a digital piano with many features or attractive furniture.
Upright Pianos
As we have discussed in a previous video (Upright Pianos Vs. Grand Pianos), upright pianos have a few limitations when compared to grand pianos, but for many people they are a great option.
Here are 2 good reasons to consider getting an upright piano:
– Space
– Budget
If you can’t fit a grand piano in your home, then having an upright piano may be the next best option. If you don’t have the budget for a grand piano, you may be able to find an upright piano in your price range.
This is not to say that upright pianos are inexpensive. A top-of-the-line upright piano can cost tens of thousands of dollars!
As far as entry-level instruments go, brand new uprights piano can be found for as little as $3,500-$5,000 and should provide a decent level for beginning students.
Grand Pianos
Grand pianos cover the largest section of pianos available in that they can come in sizes ranging from baby grand pianos under 5 feet, all the way up to concert grand pianos that can be 9 feet or even longer!
Depending on your budget and space, the bigger the piano, the more rewarding the tone. However, with size comes increases in cost and as we’ve discussed in a previous video the best size grand piano for you is dependant on a number of conditions.
When it comes to new entry-level baby grand pianos, you need to spend at least $5,000-$10,000 to get any kind of instrument and potentially a lot more. The prices go up depending on the size of the piano you’re looking for. But that is a good baseline price you can expect to pay for a new, entry level baby grand piano (or even smaller petite baby grand) that will be suitable as a musical instrument (not just a furniture piece).
Used Pianos
You might have noticed that we neglected to mention used pianos up until this point. That’s because the price of used pianos is widely different than that of new instruments. In fact, the starting price for used pianos is $0!
Yes, believe it or not, you can find pianos online or in your local area for free! However, this might sound good in theory, but the reality is much more complex.
Would you buy a used car without getting the opinion of a mechanic or at least having a cursory knowledge of cars yourself? Probably not. The same principle applies to pianos. Unless you are knowledgeable about what to look for, a free piano could end up costing you much more than even a new instrument.
To provide an example, let’s say you find a used upright piano on Craigslist and someone is giving it away for free. You call them up and they say that as long as you can move the piano out of their home, you can have it. Unless you’re extremely adventurous, you’re going to want to call a professional piano mover to move the piano for you. Let’s assume that this costs a minimum of $200. Unless the previous owner took great care of the piano (which is rarely the case if they are giving it away for free!), you are going to, at the very least, get the piano tuned by a piano technician. For the sake of discussion, let’s say they can get the work done for another $200. So at a bare minimum, that free piano will actually cost $400 – which is almost the price of a brand new digital piano.
We get hundreds of pianos offered to our store every year and only a few are worth restoring. The pianos we take in are almost never in a condition to sell and they typically require thousands of dollars worth of work to put them into fine playing and cosmetic condition. Here are just a few things we evaluate with every single piano we are offered:
The finish of the case
Condition of the soundboard
The condition of the action parts on the piano
The tone of the instrument, does it need tuning, regulation, or voicing?
There are dozens more options that go into evaluating a piano, but these are just a few of the important aspects we evaluate on every single instrument. Each of these areas could cost thousands of dollars in repairs or replacement parts (as well as labor) and you must work with seasoned professionals.
Needless to say, you don’t want to move a piano into your home only to find out it’s simply beyond repair or going to cost you tens of thousands of dollars to get into playing condition. You’ll soon find out why that person was so desperate to get rid of their piano!
Buying a piano is a real challenge and whether you are looking for a new or used instrument it is extremely important to research your purchase and speak with someone you trust and is knowledgeable about what you’re looking for.
If you have any questions about this topic or any others, please contact us at: Info@LivingPianos.com (949) 244-3729
If you’re familiar with pianos, you probably know they can be very expensive musical instruments. Many potential buyers might experience some sticker shock upon their first trip to a piano store. Grand pianos can range anywhere from a few thousand
I’ve different aspects of voicing on the piano: How to Play Softly, How to Play Loud, How to go from Loud to Soft, How to Play One Hand Louder Than the Other on the Piano, and How to Bring Out Lines in Your Music.
Today I am going to talk about something a little different; something I learned as a conservatory student.
When I would listen to performances of concert pianists, I would notice that the melody was delineated much more in their playing than in most student performances. The difference in volume between the melody and the harmony was much greater in the performances of the great pianists.
In the example provided with the video in this article, I play the slow movement of the Beethoven Pathetique Sonata and show you how playing the melody much bigger and playing everything else very delicately will give the piece a much more intimate feel.
The thing to keep in mind is that this isn’t a right or wrong approach to your music, it’s simply one technique you can bring that will create a unique presence for your performances. In very dense music, delineating your melody from the rest of the music is essential; otherwise, it can get lost very easily.
While it doesn’t work on all occasions, in some instances you must create extreme separation between your melody and harmony by accentuating the melody above all else. Practicing Without the Pedal and Practicing While Playing Slowly are two great techniques in learning how to bring out the melody in your music.
Thanks again for joining us here at Living Pianos. If you have any questions about this topic or any others, please contact us at: Info@LivingPianos.com (949) 244-3729
I’ve different aspects of voicing on the piano: How to Play Softly, How to Play Loud, How to go from Loud to Soft, How to Play One Hand Louder Than the Other on the Piano, and How to Bring Out Lines in Your Music. Today I am going to talk about som
You might wonder whether or not it’s a frivolous expense to spend $60,000, $80,000 or more on a piano when you can buy a decent Asian production piano for a fraction of the cost. Are expensive pianos worth the price or are they merely status symbols? Let’s examine this in detail.
Yes, there is a sense of status when owning an expensive piano. Having the name Steinway, Bosendorfer, Fazioli or other esteemed brand across the fallboard of your piano makes a statement. It’s a lot like owning a designer handbag or luxury car. There is pride of ownership of a fine piano. However, beyond the name across the fallboard, what are the benefits of buying a top-tier, handmade instrument?
Fortunately, showing off the name on your fallboard is not the primary benefit of owning a high-end piano!
Beyond the status of owning an expensive instrument, the resale value of the piano will be much higher than a cheaper production instrument. The value of Steinway, Mason & Hamlin and other top-tier piano brands is very high and they retain their value unlike some production pianos which can be practically worthless in a few short years.
Think of it this way, if you buy a $10,000 production piano, when it wears out you probably wouldn’t invest to rebuild it. This is due to the fact that the cost of rebuilding is more than what the piano is worth or even the price of a new one. When it comes to top tier instruments, the cost of rebuilding is justified. So, the piano has lasting value.
If you’re looking for a piano that you can pass down from generation to generation, a high-end piano is the obvious choice.
What’s the difference in how a cheaper piano plays compared to a top-tier piano?
For the majority of players a cheaper production piano may be adequate. For a young child just starting out, an adult who likes to play occasionally, or someone who is looking at a piano primarily as a piece of furniture or even as an entertainment piece with a modern player system, you may not require anything greater than a decent production piano in your home. It can last several years with moderate use and proper maintenance.
What about for serious players?
Years ago I had a brand new, grand piano from a respected Asian manufacture that I was using as my personal practice piano. I am a serious player and practice hours every day I found that about every six months the piano required major regulation just to keep it in decent playing condition. I even had to rebuild the pedal lyre more than once because it couldn’t withstand the intense use the piano was getting. I was spending a small fortune to maintain the instrument and it was simply not worth the investment. Eventually I found a top-tier American concert grand piano from the 1970s that I still currently use and it’s been a phenomenal experience owning this piano; it can withstand my rigorous practice sessions and requires only minimal regulation on a much more occasional basis because of its stability.
Another thing to consider is that the vast majority of Asian production pianos don’t have the range of expression that top-tier pianos offer. Any serious pianist knows how to instantly adjust to the instrument in front of them. For example, if I’m performing on a concert grand Bosendorfer, Mason & Hamlin, Steinway or other top brand I can let myself go and not worry about how much energy I put into the piano. If I’m performing on a cheaper instrument I will temper my performance limiting the energy I exert to avoid unpleasant sounds out of the piano since it can’t handle my range of expression. I would relate this to turning up a cheap stereo too loud – it can create distortion and become very unpleasant to the ears.
What about if you’re playing a piece that requires quiet playing with multiple, simultaneous lines at different volumes? This is a technique that really only high level players will be able to achieve on a top-tier piano in great condition. Yet it’s something that any serious pianist absolutely requires.
These issues are not really a concern for most players or students. Unless you are a really accomplished player you probably won’t encounter these types of issues. However, if you find yourself limited in your performance because of your current instrument then it might be time to upgrade your piano to something more substantial. Even if it isn’t required, you may appreciate the quality of sound and touch and enjoy and instrument you can keep for the rest of your life.
Thanks again for joining us here at Living Pianos. If you have any questions or comments about this subject or any subject at all please contact us directly: Info@LivingPianos.com (949) 244-3729
You might wonder whether or not it’s a frivolous expense to spend $60,000, $80,000 or more on a piano when you can buy a decent Asian production piano for a fraction of the cost. Are expensive pianos worth the price or are they merely status symbol
Welcome back to our multi-part series on the Burgmüller Studies. These pieces are really great for piano students at a fairly elementary level yet provide some gorgeous music. In the first lesson we covered La Candeur (Frankness) and last time we covered L’Arabesque. Today we are going to talk about how to approach La Pastorale – which is a great piece to introduce using the pedal to students.
If you followed my past lessons on Burgmüller you might notice how different each of these pieces sound. It’s a great way to introduce students to many different types of music that are both easily accessible and unique from one another.
The key to mastering this particular piece is a lot like the first lesson we covered which is to use the weight of your arms to maintain a smooth legato with rises and falls of dynamics in each phrase. This piece has the added challenge of a degree of complexity in the left hand. As opposed to the whole notes in La Candeur, you have a pattern of repeated chords:
I always recommend practicing your music without the pedal first in order to achieve a smooth legato. The same principle remains true here. Once you feel confident, you should add the pedal to add to the smoothness.
After you’ve practiced both hands independently try putting them together but still practicing without the pedal. You want to achieve a smooth legato in both hands without using the pedal as a crutch. Once you can play smoothly with confidence, go back and add the pedal.
Why is it so important to play notes legato if you’re going to add the pedal anyway?
This is a likely question you hear from intelligent students. Wouldn’t the pedal make everything smooth anyway? Not necessarily. You must capture all the notes of the first chord in each group whenever engaging the pedal. If you miss any of the notes on the pedal, you will lose the legato. By playing the chords long, you will ensure that all the notes are down when you press the pedal.
In the next section you will not need to use the pedal but you will face a different set of challenges. You have repeated notes in the left hand and a different rhythm to deal with in the right hand:
Make sure you play these notes legato. Not just in the right hand but the left hand as well. Repeated notes present a unique challenge. How can you play these notes legato? The secret is changing the fingers you use for each note. This way you can have one finger coming going up while another finger is going down. This technique will create a sense of connectivity in the notes and create a beautiful line. Try this section with this technique and see if you can tell the difference:
Notice 4-3-2 on these B flats. You’ll notice the right hand has the same technique:
Notice the 2-3-4 listed on those notes.
You’ll see these numbers over repeated notes quite a bit in this piece. The secret is to change fingers for repeated notes so you can achieve a smooth sound.
Thanks again for joining me Robert Estrin here at Living Pianos. I hope this has been helpful for you and make sure to stay tuned to our future episodes in the Burgmüller studies on piano. If you have any questions about this topic or any topic at all please contact us directly: Info@LivingPianos.com (949) 244-3729.
Welcome back to our multi-part series on the Burgmüller Studies. These pieces are really great for piano students at a fairly elementary level yet provide some gorgeous music. In the first lesson we covered La Candeur (Frankness) and last time we co
Welcome to the first in our series on The Burgmüller Studies. Burgmüller was a wonderful composer who wrote pieces that are accessible to less advanced students, yet offer absolutely wonderful musical content. I always encourage students who have progressed beyond the most basic level to explore these pieces because they are beautiful compositions that can help you further your development as a pianist.
Today we are going to discuss the first piece in this series: La Candeur (or as it translates to English, “Frankness”).
What are the challenges in this piece? You might notice by listening to it that it has a very lyrical, sustained melody. This piece doesn’t require using the pedal but the challenge is getting a smooth line throughout which requires learning to play legato. This is a great skill for any pianist and particularly good for young students just getting into more advanced music. You’ll also want to support the line with the weight of your arms – VIDEO: Arms Equal Power and Depth.
The secret to getting a sustained and beautiful tone is to have the weight of your arms supported by the fingers. You’ll want to transfer the weight from finger to finger to create a long and beautiful legato. You don’t want to apply pressure just at the start of a note but during the entire phrase. If you were to play on someone else’s arm they would feel a constant pressure from the weight of your fingers and arms pressing down, not just at the start of the notes.
If you were to calculate the volume of each note louder and louder to the top of the phrase, then quieter and quieter, you would end up with calculated playing, not a smooth line. Using the weight of your arm – almost as if it were the breath in music – to get louder during the middle of a phrase and softer towards the end of a phrase, you will create a very dramatic and pleasing tone throughout. You want the piano to mimic a wind instrument or a singing voice in it’s tone.
In another part of the piece you have a section which almost sounds like it could be written for two different instruments in the right hand:
On the top you have these half notes:
And on the bottom you have a completely different voice:
It’s important to leave the top (half notes) down while you play the other notes. How can you achieve this? By practicing the long notes legato and the short notes staccato from the fingers. This creates independence of the fingers to assure delineation of the two lines. Without doing this you might end up holding down all the notes or not holding the half notes for their full value – which would be incorrect.
Thanks again for joining me, I look forward to our next lesson on Burgmuller. If you have any comments or questions for this topic or any topic at all please contact me directly: info@LivingPianos.com (949) 244-3729
Welcome to the first in our series on The Burgmüller Studies. Burgmüller was a wonderful composer who wrote pieces that are accessible to less advanced students, yet offer absolutely wonderful musical content. I always encourage students who have p
