Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to get free sheet music. On the Internet you can get almost everything for free, from movies and TV shows, to books, and yes, sheet music! Of course, there’s a price you pay for something that’s free, which is not knowing the validity of the score. You don’t know the integrity of anything you get for free. However, sometimes it’s nice to have a variety to choose from. If you just want to check out some sheet music, maybe a free music site is just what you’re looking for.
There are a lot of different websites that have a smattering of free music. But the best place is a website called IMSLP.org.
IMSLP is an incredible resource of not just sheet music but also recordings. When you first go to the site it may seem a bit confusing. As soon as you click on something, it tells you you can pay for a subscription, or you can wait 10 seconds for your download. Then you’ll see all the recordings first. But once you figure out how the site works, it’s a treasure trove.
Fair warning, a lot of it is junk.
With some stuff you’re immediately going to see tattered, old, unauthoritative editions. But if you spend the time, there are nuggets of gold in there. If you just want to see two or three different editions of the same piece, it’s a great resource. You’re not going to buy two or three different copies of sheet music, but this allows you to have a reference.
Many of you may have noticed that I co-brand many of my videos with the VirtualSheetMusic.com logo. VirtualSheetMusic.com is not all free, but for a very small subscription fee you get the benefit of integrity of the scores. It’s also very convenient. You can download music right to your iPad or print out the music There are all kinds of technologies to make it easy with automated page turning, and all sorts of cool stuff. So if you’re looking for just free music, check out IMSLP.org, but if you want something more trustworthy and convenient, check out VirtualSheetMusic.com. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com
Welcome to LivingPianos.com, I’m Robert Estrin. The question today is about how much you should mark up your piano music. There are a lot of reasons to write on your score. Maybe you missed something in your music and you want to circle it, or you need to put fingering in. After a while your whole score could be marked up making it difficult to see the notes!
I have an interesting story about this.
Years ago, when I was at the Manhattan School of Music, I had a friend who was a piano major. She had the Henle edition of the Beethoven sonatas, which are very authoritative and expensive. I was helping her with a particular Beethoven sonata. She opened up the score of this incredibly expensive, thick volume of Beethoven. She turned to the sonata she was working on with her teacher, and it was marked up with several different colors of ink! There were so many markings, you absolutely could not see the score anymore! Things were circled, and there were big blotches of red, green, and blue ink on the score. Can you imagine the injustice of this? Her teacher destroyed her score! There’s no way you could possibly see the notes and Beethoven’s markings anymore. That’s an extreme example of what to avoid.
Only use pencil in your scores.
When I tell my students to mark something on the score I first ask, “Do you have a pencil handy?” That’s rule number one. My father used to have this really cool mechanical pencil. I haven’t seen anything like it that exists anymore. It was a pencil that had four different colored leads in it. He could mark scores with red, green, blue and black. It was such a great way for him to mark scores in a coherent fashion. Yet because it was pencil, the markings could be erased. Why is this so important? Let’s say early on you didn’t see a flat in the key signature, so you put the flat in front of the note. Then maybe later there was something else in that same measure, like a fingering or a phrase marking you missed. You can start making so many circles and marks that before you know it, it doesn’t get your attention anymore.
You want to be able to erase marks you no longer need, and only have the ones that are pertinent.
At a later stage of learning a piece of music, you might want to record it to see what kind of shape it’s in. In doing so, when listening back to the recording, you might want to gently circle the places you want to review. But maybe the mistakes were just one-offs. Maybe you just wanted to reference them after listening to the recording. Your markings are not always something you want to call to attention every single time you’re looking at the score. Fingering is a really critical example. You may work out a fingering and think it’s good. But later, when you’re playing the piece up to tempo, you realize that fingering isn’t going to work at all. As long as it’s in pencil, you can erase it and put new fingerings in. So that’s the most important thing.
Retain the clarity of your score.
Use a pencil! Don’t obliterate your score with too many markings. Erase the markings you no longer need so you have clarity of the actual score. After all, the score is what you need to see and digest. You don’t want to obscure it with too many markings. I’m interested in how you deal with markings in your scores. What do you find helpful? Let me know in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com
Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to talk about the differences between baby grands and grand pianos. You might just think one’s bigger than the other. That is an intelligent observation. But really, there are 3 fundamental differences between baby grand and grand pianos. I’m going to break it down for you today.
The 3 basic differences are: String Length, Soundboard Area, and Action Geometry.
Let’s talk about each one of these aspects and the significance of them. Then you can determine what might be the right piano for you. Baby grands are typically around five feet long. That’s measured from the edge of the key slip to the farthest part of the lid. Whereas grand pianos are more like six feet in length. These are only approximate measurements. Some baby grand pianos may be 5′ 1″ or 5′ 4″. Grand pianos can be 6’3″, 6’4″, even 6’6″. When you get to 7-feet, that’s considered a semi-concert grand, which is another class of piano.
What’s the difference between a baby grand and a grand piano in regards to string length?
The physics of sound is such that a doubling of frequencies creates an octave. When something vibrates twice as fast, it creates an octave higher in pitch. Therefore, something twice as big will produce sound an octave lower. If you think about how short the top strings of a piano are, if you went doubling each octave, you would have a piano that stretches out way farther than your room! So how do they compensate for that? Even on a 9-foot concert grand piano, the strings aren’t nearly long enough in the bass to be twice as long for every octave in the treble. It’s compensated for by making the strings fatter in the bass. You notice the copper wound strings in the bass get thicker and thicker. Even the steel wound strings have different gauges from the top going down, getting progressively thicker. This way the piano doesn’t have to be ridiculously long in order to have the range of pitch that it has. The sound created by thicker strings that aren’t as long, have many strong overtones. Overtones, or color tones, exist in all vibrating objects that create pitched sounds, whether it’s a piano, or a bell, or anything that produces a pitched sound. If you blow through a seashell and create a pitch, it has overtones in it! That’s what gives the vibrancy of tone, and the differences in sound from one instrument to another.
The shorter a piano is, the stronger the overtones are and the less fundamental frequency you have.
When you’re playing a low note, particularly on a small piano, you’re actually getting more overtones than fundamental pitch. I remember as a kid I used to love to play with tape recorders. One time I recorded the lowest note of the piano. Then I played it back three or four times as fast. It sounded almost like a chord! The overtones are so strong. This makes it very difficult to tune smaller pianos, because the overtones can conflict with fundamental frequencies of higher notes. The purity of the sound is one benefit to having longer strings. And the longer a piano is, the truer the fundamental tones are, and the overtones are less prominent. So that’s one aspect of the sound of a larger piano. That’s a benefit because of string length.
The larger the soundboard, the richer the sound.
Sound systems that have bigger speakers tend to have more bass and a richer sound. It’s very difficult to get good bass out of small speakers. There are some technologies that can come close with baffles and tubing and subwoofers. But with just one diaphragm, like a piano soundboard, a bigger one is going to have a richer sound overall. Also, the placement of the bridges on the soundboard can be more centralized when you don’t have to cram everything into such a tight space as in a baby grand. The scaling of the piano design on a larger piano can be such that you can get better vibration of the whole soundboard from any of the registers. You get a more even sound from top to bottom on a larger grand piano than on a baby grand. So those are two sonic benefits of grand pianos.
What about the action?
Earlier, I mentioned action geometry. On a small piano, in order to fit everything into a small space, and to have the strike point in the right place, that is the point of the string where the hammer hits, the keys must be shorter. Not the part of the keys you see, but the part that is behind the fallboard. So when you’re playing on a baby grand, your fingers are very close to the central pivot point. Therefore, the key travel is far shallower, particularly when playing black keys, as well as white keys close to the fallboard. Whereas on a grand piano, these parts of the keys move much more, giving you better control with your hands on the keys when you’re not playing on the edge of the keys. This makes it easier to control with soft playing in particular.
So those are some of the benefits of grand pianos compared to baby grands.
These benefits multiply as you get to semi-concert and concert grand pianos. A 9-foot concert grand is the ultimate piano in terms of scale design, with the way the strings get larger and longer from the treble to the bass, as well as the placement of the bridges on a larger soundboard, and the action geometry giving you such an even feel, even when playing close to the fallboard. It is the ultimate playing and sonic experience! However, another aspect of piano size is that generally, larger pianos produce more volume. So this is another consideration for you. I hope this has been helpful for you! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com
Welcome to Living Pianos. The subject today is about what college piano sales are all about. You’ve probably seen them at your local college or university, and then the next year they have them again. And you wonder how they have so many pianos to sell! Also, you wonder, if these are college pianos, what kind of condition could they possibly be in. (We’ve all seen school pianos!) Well, I’m going to tell you what these sales are all about so you can determine if it’s something of interest to you so you can decide if you’d like to investigate them for yourself.
This is a very common practice. They are events held at colleges, universities and also in conjunction with arts organizations. The way they work is with an arrangement among a piano dealer, a piano manufacturer, a finance company, and an institution, typically a school. The arrangement is made to loan several new pianos (perhaps 6-8 pianos) for a year at no charge. In exchange, the institution agrees to open up their facility (and more importantly their mailing list) to have a limited time piano sale which is marketed with tens of thousands of dollars of advertising. The piano store then engages piano movers to move dozens of other pianos from the piano store into the school, performance venue, or other facility for the sale.
If you research this online, “What is a College Piano Sale”, you will find a lot of opinions on this practice.
These sales are generally held in conjunction with Yamaha, Steinway, or Kawai. If it is a Yamaha event, there will be mostly Yamaha pianos there. If there is a specific model of Yamaha piano you are after, it can be a good place to get a decent price on the piano without the hassle of negotiation which is typical in new piano stores. However, the expense of moving the pianos in and out, along with the heavy promotional costs precludes spectacular deals at these events. It is also not a place where you have much time to try out instruments. They try to create a buying frenzy by limiting time, and fostering an urgency for a buying decision before the pianos are sold (even though most of them go back to the store after the sale is over).
So remember: if you are looking for a new piano, and know what you want, a college sale can be a good way to go. But for narrowing down what you want, you are better off shopping around first. Let us know your experiences on LivingPianos.com and YouTube! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource. For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share my personal story about how I became a pianist. You might think that it would be obvious. Many of you know that my father, Morton Estrin, was a concert pianist. My sister is also a pianist. I’ve been surrounded with pianists and pianos my whole life! So you might think it’s the most natural thing in the world that I ended up being a pianist. Far from it!
I’ve always loved music.
I had the opportunity to start piano studying with my father when I was seven years old. Shortly thereafter, in fourth grade, I was given a French horn at school to play in the band. I was very taken with the instrument. I loved the tone! The French horn is everything the piano isn’t, and vice versa. On the piano, there’s only so much you can do with tone. Some pianists create a much more beautiful sound than other pianists. There’s something to that. But on the French horn, you can hear just one note and identify the player! What you can do with just one note is extraordinarily limited on the piano. But on the French horn, there is so much you can do with each note. It’s unbelievable! Plus I loved playing in the orchestra and the band. I was very serious about French horn. I divided my time between French horn and piano all through school.
In junior high I had a great French horn teacher, Hugh Cowden.
He was such an inspiration to me. I learned so much from that man that it was unbelievable! He used to come over to my house for lessons. We would go downstairs in the playroom and he would spend all afternoon there with me. We would play duets together, we would play recordings, he would have me do excerpts as well as etudes and concertos and sonatas. I learned all the Mozart Horn Concertos, the Strauss Concertos, the Glière Concerto, the Hindemith Sonata, and more. I really learned a tremendous amount. I loved the French horn. I played in several very good orchestras in high school. I even had the opportunity to play lead French horn with Chuck Mangione, and had a bunch of solos! I also played principal 1st horn on Mahler’s 1st Symphony under Seiji Ozawa on ABC Television at Tanglewood, as well as at the Mozarteum in Salzburg, Austria. I was extremely serious about the horn.
In middle school I remember saying to my parents, “How am I going to decide between French horn and piano when it’s time for college?”
My parents told me, “Oh, you’ll know.” And I said, “No, I won’t.” And sure enough, I didn’t! I couldn’t make up my mind between French horn and piano. To some extent, there were many mitigating factors to this. One was, my father had so many brilliant students, many of whom were far more accomplished technically than I was. I have small hands. Growing up, I struggled to develop enough strength to be able to play the literature I wanted to play on the piano. It was really hard for me. I overcame it, but it took much more work. I realized as a teacher, years later, how much easier piano was for so many of my students than it was for me! I’ve had students who could just leap from one level to another because their hands could handle it once they could intellectualize the music. I didn’t have that luxury. I had to work and work to develop the muscles, and to figure out how to break chords I couldn’t reach in order to be able to play advanced piano literature.
I loved playing in orchestra. And furthermore, I enjoyed practicing the French horn more than I enjoyed practicing the piano!
Playing the French horn is a visceral experience. It was just fun going through all the musical excerpts of the famous horn solos, whereas piano was almost drudgery. It takes so much work to memorize music on the piano! I loved refining the music once I had it memorized. That was the part I’ve always loved. But that initial memorization is the hardest thing I’ve ever done. And if any of you memorize piano music, you understand. It’s the hardest thing you’ll ever do. Memorizing music is really hard! And it’s an essential part of piano practice (which I have come to enjoy!)
I decided that I would only audition at schools that offered double majors with horn and piano.
That’s why I didn’t apply to Juilliard, because they didn’t offer a double major. But the Manhattan School of Music and the Cleveland Institute of Music did. I applied at those schools and got into both schools on both instruments! I decided to go to the Manhattan School of Music to get to study with the principal horn of the Metropolitan Opera Orchestra. The piano faculty was tremendous there as well.
When I went to my counselor to put my schedule together, it became obvious that doing a double major would never leave me enough time to practice.
It wasn’t just the private lessons. It was the entire course load that would be doubled up just about. Finding enough time to practice even with just a music performance degree on one instrument is a great challenge since you’re working towards a bachelor of music degree. It’s an academic degree. So you have a substantial course load. You have music theory, history, on and on as well. I decided to be a French horn major, because I could continue to study piano with my father. I wanted to be able to play in the ensembles. Playing with an orchestra is an integral part of playing the French horn. Piano, you can play all by yourself, or you can do collaborative work with four hand piano, accompanying, or chamber music. But you certainly have a lot to keep you busy just with solo repertoire. Whereas with the French horn, almost everything involves other instruments. Even solo music, you’re playing with a piano. But playing in an orchestra, that’s the end goal for a French hornist generally. There are very few people who only play solo French horn.
Well, I had an experience that I won’t go into and I won’t mention the name of the teacher. But it was a miserable experience that maybe I’ll write in a book someday. I’m not going to share it with you because I don’t want to hurt anyone’s feelings. But a really horrific thing happened and I had to stop studying with the horn teacher who I had. At that point I figured I might as well study with a piano teacher. I was accepted by all the piano teachers at the Manhattan School of Music, which was very thrilling. I chose to study with Constance Keene. I decided to go back to my previous horn teacher, Hugh Cowden. He was such a great horn teacher, so it made sense. So I went and studied with Constance Keene on piano and continued doing horn outside of school.
When did I finally just go for piano?
I haven’t played the horn in quite a number of years. The last time I played the French horn, I played concerts in both New York and California with my father and my daughter! We did the Brahms Horn Trio, which is a magnificent work. You should listen to it if you’ve never heard it. I also performed the Benjamin Britten Serenade for Horn, Strings, and Tenor with an orchestra in Orange County. I was in top shape! This was in the early 2000s. But it was at the same time that I had just put together the concept of my Living Piano: Journey Through Time: Historic Concert Experience.https://www.youtube.com/watch?v=ldMu-RHXfec&list=PLC9F55F8E11E5FBDE I was really gung-ho about this. This ended up being something I performed dozens of times in universities, art centers, and convention halls all over California. I performed this show for the annual conventions of the Music Teachers’ Association, as well as the Piano Technicians Guild. I even did a Living Piano cruise!
I divided my time between French horn and piano up until the early 2000s.
I was in the formative stages of the Living Piano show. My mind was completely wrapped up in it! Yet I had these important performances on the horn. I was practicing the horn incessantly! I had almost no time for the piano. So once those performances were over, I just completely left the horn in the case ever since, which is kind of a shame. I do have some recordings. One of these days maybe I’ll post the Brahms horn trio performance. Naturally, I played the horn part of that. My father, Morton Estrin, played the piano. My daughter, Jenny Estrin, played the violin part. She is an incredibly accomplished violinist!
That’s my personal piano story! I bet many of you are surprised to hear this. Have any of you had experiences with multiple instruments? Have any of you taken as long as me to make up your mind about what instrument would be your primary instrument? I’d love to hear from you! Let me know in the comments here at LivingPianos.com and YouTube! Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
For premium videos and exclusive content, you can join my Living Pianos Patreon channel! www.Patreon.com/RobertEstrin
Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com
Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how to take your piano playing to the next level. This is a really fascinating subject. This transcends piano. It even transcends other musical instruments! With almost anything anyone wants to master, it really comes down to a critical mass of practicing. What do I mean by this? The term critical mass is typically associated in physics with radioactive material. You put enough of it together and it starts a chain reaction. But you could have plutonium and it would never start a chain reaction, no matter how much you have, unless you put enough of it in one space at one time. That’s what causes the chain reaction. It’s the same thing with your piano practice or any other endeavor you want to master.
There has to be an extended period of time where you’re spending just about every waking moment at the piano.
Anyone who’s really mastered an instrument has gone through this process. Once you go through that process, you will be forever changed. You will be on another level. You can depend upon what you have given yourself with that experience. Another example of this, since I’m into physics, is something called escape velocity. For example, if you were to go into a rocket, and just keep going and going and going straight up, you will never go into orbit. In fact, the way to go into orbit is not by how far you go, but how fast you go. You have to reach a certain speed to escape the force of Earth’s gravitational pull. There has to be enough speed generated. You have to have enough energy to be able to get your piano playing on that level.
You can practice for your whole life one or two hours a day and never reach that pinnacle of achievement of a true virtuoso technique.
To be a really accomplished concert level player, you have to go through this process. There is no substitute for that. Now that I’ve made this bold statement, since a lot of people watch my videos, I’m interested in your feelings about this. It doesn’t have to be just piano, any field of endeavor. Are there any of you who feel you’ve mastered painting, or physics, or anything, and you haven’t gone through that process of total absorption for an extended amount of time? I want to hear from you! I want to know if it’s possible, because my feeling is that it’s not possible. I believe that’s what it takes, and there is no shortcut to that. You can grow. You can become better. But you’re never going to be on that top echelon level without going through this process. Talk to any friends you have who have mastered their instrument or their craft, and ask them if they’ve gone through this process. I’m really interested in the comments on this one here at LivingPianos.com and YouTube. Thanks again for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Resource.
