If you’ve followed my videos you might be familiar with some of my more advanced videos on this subject: How to Play Chords on the Piano Part 1 and Part 2; Diminished 7th Chords Part 1, Part 2, and Part 3, and What are Parallel Chords? as well as some videos that cover the basics of scales: Relative Minor Scales, Major Scales, Whole Tone Scales, and Chromatic Scales. A lot of these videos go very well with this topic and they all relate to one-another.

So what is a chord? It might seem simple when you think about it but trying to put it into words can be challenging.

A chord is 3 or more notes arranged in thirds.

A scale is built upon whole-steps and half-steps (seconds) and a chord is built on the interval of a third. What is a third? It is essentially every other note of a scale. So if you were to play a C major scale (or any other major scale) and leave out every other note you would have a chord! It really is that simple; you can make a chord by simply playing every other note of a scale.

There are two types of thirds that are used in chords: major thirds with a total of four half-steps and minor thirds which contain three half-steps. Different combinations of major thirds and minor thirds are the fundamentals of Western harmony. There are expanded chords we can get into in another video but this is the basic information on what exactly a chords is.

And when it comes to chords, you don’t have to start on the first note of a scale, you can start on the second, the third and so on as long as you skip every other note of the scale.

Thanks so much for joining me here. We will be bringing you more videos on this topic very soon. If you have any questions please contact me directly Robert Estrin Robert@LivingPianos.com (949) 244-3729.

What is a Chord?

If you’ve followed my videos you might be familiar with some of my more advanced videos on this subject: How to Play Chords on the Piano Part 1 and Part 2; Diminished 7th Chords Part 1, Part 2, and Part 3, and What are Parallel Chords? as well as s

Many people wonder if there is anything they can do to improve their fundamental skills of playing the piano once they progress past the basic lessons to become a competent player. Are there any tips, tricks, or advanced exercises you can employ to progress your playing even further?

I’ve stressed in the past the importance of learning all major and minor scales and arpeggios. But beyond this, are there any hidden secrets that will make you a better pianist? There is a simple thing you can do that won’t take much time and can greatly improve your playing:

Practice at least 10 minutes a day

Seriously, that’s it! You may not be able to do this every single day, but if you sit down and practice even a little bit every day, it can dramatically change your piano playing. Like any endeavor, whether it’s music, writing, drawing, or physical fitness, the key to success is to work consistently over time.

By practicing every day for even a few minutes, you will be keep yourself in shape on the piano both mentally and physically. Whether it’s scales, arpeggios, or what I recommend above all else, repertoire, you will enjoy benefits to your playing. You will also build on what you have worked on the previous day instead of taking two steps forward and one step back forgetting what you had learned previously when you skip days.

You can revisit a piece you played in the past, play through something you are working on currently, or learn a brand new piece. Focusing your practice sessions on actual music is one of the best ways to improve as a pianist, and it can be an enriching experience.

Just sight-reading through music can help you grow musically by getting exposed to new music while improving your reading. Learning new music will help you expand your horizons as well. You’ll learn new techniques, get exposed to new sounds, and discover new ways to play your instrument. As pianists, we are extremely lucky because there is more solo music written for piano that any other instrument. You will never run out of new music to learn!

So instead of focusing on just scales, arpeggios and exercises, try focusing on music and work some at the piano every day. Not only will you be exposing yourself to something new that presents fresh challenges, you will be able to actually play something enjoyable for people once your master a particular piece.

I hope this is helpful and if you have any questions about this topic or any other, please email me Robert@LivingPianos.com for more information.

How to Continually Improve Your Piano Playing

Many people wonder if there is anything they can do to improve their fundamental skills of playing the piano once they progress past the basic lessons to become a competent player. Are there any tips, tricks, or advanced exercises you can employ to p

This is a great question and it’s something people don’t often consider. Most of the time people are used to the lesson plan of learning a new piece during the week – if you’re just starting it will probably only take you a week to learn – and then starting another piece the next week. The question is, what should you do with those older pieces and when you advance further in your playing, is it possible to work on two pieces at the same time?

When it comes to learning new pieces, it’s always a good idea to continue to practice the pieces you’ve already learned. It’s not worth forgetting about them. If you’ve taken the time to learn them, you should continue to reinforce them and expand your repertoire as much as possible. It’s much better to have a few pieces of music in your repertoire that you can play extremely well and as you continue to practice your older pieces you will be able to play them easier and more effectively. As you continue to learn new music and continue to practice all of your pieces you, will expand your repertoire very quickly.

Once you get to a certain point you might have too much music, which means that you might have to start dropping older repertoire to have the time to learn new pieces. This is a good place to be. It’s always great to have a solid repertoire you can refer to and once you begin to learn and master new pieces you can simply replace older ones you no longer like as much or you don’t think showcase your talents as well. Later you may revisit these pieces.

Instead of playing exercises, try playing your older music It can be more beneficial than simply practicing just exercises and it will allow you to refine your playing even more. I highly recommend playing older music as warm up exercises. You will become intimately familiar and comfortable with the music.

Once you advance to a certain level of music, it’s going to take you a long time to learn and master a new piece. If you’re entering competitions or playing recitals you will have to learn a lot of music all at the same time. It’s beneficial to practice each of your pieces at least thirty minutes to an hour a day – and many times you will have to practice much more than that. Learning one piece at a time simply isn’t feasible for a schedule like this and you will have to learn more than one piece at a time in order to keep yourself current with your music and the goals you’ve set for yourself.

So the short answer is yes, you should always practice more than one piece at a time, especially your review pieces in your repertoire because it only expands your personal music library and enables you to have many pieces on a high level at the same time. I know some people who simply learn a new piece each week and drop the older ones they were learning – they never have a piece that is on a high level they can simply play at a moment’s notice. The bottom line is that if you are to perform concerts, you must have a substantial repertoire under your fingers even though you can’t keep everything you’ve learned on a high level all the time.

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

How Many Musical Pieces Can you Practice at a Time?

This is a great question and it’s something people don’t often consider. Most of the time people are used to the lesson plan of learning a new piece during the week – if you’re just starting it will probably only take you a week to learn –

We have addressed octave techniques in a couple of past videos: It’s all in the wrist and Piano Exercises – Octaves, among countless other videos in which I talk about certain techniques I will address in this video as well.

This video is quite unique. A couple weeks ago a good friend of mine named Jeffrey Beigel (who studied with my father Morton Estrin) was touring through Southern California. We had time to catch up and even film an extended interview (which you will see on the website and YouTube very soon).

I had mentioned to Jeffrey that I was playing the Liszt B-minor Sonata which contains numerous octaves sections. He immediately went to the piano and started playing parts of the Liszt Sonata and said, “Curl the second finger”. I had never heard this before and I started incorporating it into my octave technique.

In case you are unfamiliar with my video on octave technique, it involves playing from the wrist – as the arms are not fast enough to get the job done in many cases. Jeff’s suggestion was to simply curl the second (index) finger. It works wonderfully by relaxing the hand which allows you to play your octaves more easily.

Thanks again for joining me and I look forward to sharing more of these techniques with you in the future. Robert@LivingPianos.com (949) 244-3729

A Secret Octave Technique for Piano

We have addressed octave techniques in a couple of past videos: It’s all in the wrist and Piano Exercises – Octaves, among countless other videos in which I talk about certain techniques I will address in this video as well. This video is qui

This video deals with the correct fingering in scales and arpeggios on the piano as found in Charles Louis Hanon’s The Virtuoso Pianist. Last week we covered the basics and a good routine for the first lessons of his text: Learning Hanon Part 1 – The First Lessons.

When it comes to playing other instruments, fingering for scales can differ greatly. For the violin or the French horn (which I also play) or other woodwind instruments, there are a number of different fingerings for scales and everyone’s approach can be quite different. Fortunately for the piano there is a resource that everyone pretty much adheres to – which is Hanon.

Hanon is a great resource for fingerings for scales and arpeggios. The problem of fingering on the pianos is that we have 10 fingers and two hands yet there are 88 keys that will require you to jump up and down the keyboard. Finger crossings are inevitable and can be effortless with the right fingering!

For each scale there are a total of eight fingerings which you must memorize. You can see examples in the accompanying video.

This might sound formidable. After all, how can you memorize eight finger patterns for each of your major and minor scales and arpeggios? While it might seem impossible it’s really not as difficult as you may think. A lot of the scales and arpeggios have the same basic patterns so you will be repeating what you already know. There are some unique scales but it’s not an insurmountable task.

There is one other method of fingering beyond Hanon that I thought I would mention. It’s called mirror fingering. I personally don’t know anybody who uses this technique – The idea of mirror fingering is to have the thumbs play on the same notes in both hands on all scales and arpeggios. If anyone out there uses this techniquewood I would love to hear more about it.

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

Learning Hanon Part 2 – Scales and Arpeggios

This video deals with the correct fingering in scales and arpeggios on the piano as found in Charles Louis Hanon’s The Virtuoso Pianist. Last week we covered the basics and a good routine for the first lessons of his text: Learning Hanon Part 1 –

While there are people who are supposedly tone deaf and have difficulty trying to match pitch, there are people who have an innate problem with even keeping a beat and clapping along with a song. So, is there any way to develop this? Or is it something you are born with?

There is a certain amount of talent that is simply “born” into some people and they are able to keep a beat well on their own, but it’s not a skill that can’t be learned. If you find yourself rhythmically challenged, here are a few exercises that can help you develop a sense of beat.

Traditional methods include clapping along with a beat or a metronome but sometimes these methods simply don’t work. You might encounter students that even with this type of practice still can’t keep a beat. Don’t give up on them, there is hope!

Simply listening to music will help develop a sense of beat a great deal. All sorts of music, rhythmic music, jazz, classical, rock, anything you can listen to will help develop a sense of beat. Beyond listening you should try moving with the music.

Dance is a natural way to learn to keep a beat by following the beat of the music but something as simple as even walking around a room and singing to your music or even walking around the room and timing your steps with the beat can help you develop a better sense of rhythm. Incorporating movement into your music will greatly improve your ability to keep a beat; there is actually a whole discipline called Dalcroze Eurhythmics that explores the relationship between motion and the beat of music. When you walk down the street you will most likely be keeping a steady step. Try adding in some music and you will probably find yourself naturally stepping with the beat of the music.

If you find yourself unable to keep a beat don’t give up. Anyone can learn this skill but like many other things in life, some people will naturally be better. Don’t get discouraged and keep trying. If you have any more questions about this or any other topic please contact me directly Robert Estrin Robert@LivingPianos.com (949) 244-3729

How to Develop a Sense of Beat – Music Lessons

While there are people who are supposedly tone deaf and have difficulty trying to match pitch, there are people who have an innate problem with even keeping a beat and clapping along with a song. So, is there any way to develop this? Or is it somethi