Welcome to LivingPianos.com. I’m Robert Estrin, and this is Piano Test-Drive! I have a gorgeous instrument to present to you! The first thing I did on this piano is the first thing I do on almost every piano I encounter, which is to improvise. I let the sounds take me where they will. Truth be known, I did record the Chopin G minor Ballade on this instrument. You can find that performance here. But what’s really fascinating is sitting down on an instrument with no preconceived notions and just letting the sound take you.
An instrument like this Steinway Concert Grand from 1952, which has been masterfully rebuilt, is almost like driving a sports car.
Any maneuver you want to undertake, the instrument can handle it. You can go anywhere you like, and it can take you there at lightning speed! For example, the opening chords of the improvisation you’re about to hear, which I recorded last night. They’re massive chords. They blend from one to the next and it’s a glorious big sound. Yet in the middle, I come down and play with delicacy, just like if you’re in that sports car and you decide to take a scenic drive by the ocean to enjoy a little bit of the scenery. There are repeated notes, there’s everything I could throw at this piano! I’m wondering how you’ll like this. Listen for the end, because you’ll hear the massively strong, lowest B-flat octave on the piano at the end of this improvisation. I hope you like it!
The Steinway model D is the Concert Grand you see on stages throughout the world!
If you go to the symphony to see a concerto, 97% of the time it’s a Steinway model D Concert Grand on stage. It’s the de facto standard. To have a glorious instrument like this is such a treat. I just want to record as much as I can on this piano for the time I have it.
I hope you’ve enjoyed this! I would love to hear your impressions of this instrument in the comments here at LivingPianos.com and YouTube. Thanks again for joining me, Robert Estrin here LivingPianos.com, Your Online Piano Resource.
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Contact me if you are interested in private lessons. I have many resources for you! Robert@LivingPianos.com
It is a great challenge to find enough time to practice! Even piano performance majors in conservatories have to deal with course loads to satisfy degree requirements. In my recent interview with Madame Ruth Slencyznska, I asked her how she managed to find time to practice, particularly when she was traveling from continent to continent playing concerts. Her answer was to steal moments!
My father had the same philosophy. Whenever a student couldn’t make a lesson, he would take advantage of the time by practicing. It’s amazing how much you can get done when you take advantage of every spare moment!
Dinner isn’t quite ready, practice! Waiting for a return phone call, practice!
In the accompanying video, I took advantage of a 15 minute slot I had available before teaching a student. I showed how you can learn at least a couple of phrases in a short practice session. These little bursts of productivity can really add up over time. You must take advantage of any time you have to squeeze in more practice time!
You will see in the video how I concentrate on learning very small chunks of music at a time. This has many benefits. First, if you only have a small amount of time, you are guaranteed to be able to learn something. Also, when you have more extended practice time, you can sustain a longer period of productivity by never exceeding what you can absorb at any one time.
Try this out for yourselves. You will find that even when you think there isn’t enough time to do anything productive, you could end up with more time than you imagine. Instead of just scrolling on your phone waiting impatiently, you can instead forge ahead with learning your music! Let me know how this works out for you.
I’m 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
I get questions from piano students all the time asking, “How can I determine what level player I am?” Students from India have specific designations from organizations like ABRSM that have regimented repertoire putting students in specific categories of levels. Many music organizations like Music Teachers’ Association of California also categorize students by numeric levels. I laugh sometimes when I see repertoire with designations of, Easy, Intermediate and Advanced, and such, with pieces of the standard literature sometimes being called, ”Easy”. But there are no ways to categorize levels of playing since people have drastically different aptitudes. Someone may have a great affinity for Baroque music, but a weak sense of rhythm. Or someone may be a phenomenal sight-reader, but they can’t play anything from memory, or play anything on a really refined level. I would say that someone playing Beethoven Sonatas and large works of Chopin (like his Ballades and Scherzi) for example, may be considered advanced, but only if they are playing these pieces honestly.
There is a huge range of levels within intermediate and advanced music on the piano.
Ultimately, it isn’t important to categorize yourself into any particular piano level. You are growing as a musician as long as you are practicing, and most importantly, expanding your repertoire. Every new piece you learn adds to your skill as a pianist, and increases the depth of your musicianship. There will always be new pieces to learn, new styles to assimilate, and new techniques to explore. No matter how much music you learn, or how accomplished you become at the piano, there are always vast new areas of music for you on the piano. There also will always be people who can do things on the piano you can’t do no matter how accomplished you become.
It’s about the journey, not the destination.
So, enjoy your practice! And don’t worry about what level you are on. That’s my advice to you. If you spend productive time at the piano on a regular basis, you will continue to grow as a pianist.
Thanks for subscribing, and telling people about Living Pianos. There are more piano videos coming your way on 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. A few weeks ago, I put out a video on the top 5 piano lesson fails. I thought it was only fair to do the other side of the equation. So today, I’m sharing the top 10 piano teacher fails! Incidentally, these aren’t just about piano teachers. Most of these apply to all teachers. So I think you’ll be very interested in this!
1. Your teacher doesn’t show you how to practice.
You go to your lesson. Your teacher makes corrections and they assign new material. When you get all done, they tell you to practice. You leave the lesson and go through those corrections. You have your new piece. But how do you practice? You realize you have no idea even how to approach the practicing! That’s because they didn’t show you how to practice. When you leave a lesson, you should know exactly what it is you have to do and how to do it. Just telling a student to practice isn’t enough.
2. Your teacher doesn’t show you how to memorize.
You learn a piece and you’ve played it for a long time. Finally, at the end of the lesson, your teacher says, “For next week, I want you to have this memorized.” You get home and you start from the beginning. You see if you know any of it. You remember just the first couple of bars. Your fingers kind of just go to the right keys because you’ve played it so many times. Then you wonder, “Well, now what do I do?” You can’t figure out how to memorize because your teacher didn’t show you how to memorize! They just expected you to know how to memorize.
This is really bad for a number of reasons. First of all, it makes you feel like something’s wrong with you! The teacher expects you to be able to memorize and you can’t do it. You feel like maybe you just aren’t smart enough to know how to memorize. Well, nobody can just instantly memorize! I guess there are some amazing geniuses out there who can just play music and it’s memorized immediately. Of course, if music is simple enough, maybe just sheer repetition will work. But if you have just one week to get something memorized, and you don’t have a method or a process, you’re in trouble. So, if your teacher tells you to memorize, ask them how to memorize. If you don’t get a clear, concise answer, then you might consider getting another teacher if memorization is important to you.
3. Your teacher gives you music that is too hard for you.
This is something that is so blatantly wrong and common! Teachers give music that’s too hard. Now, why would they do that? Well, there are a couple of reasons. First of all, you might be begging your teacher to give you a certain Chopin etude. So part of it can be inspired by the student asking to play something that is really not appropriate for their level. Another thing is that teachers often like to brag to other teachers and pianists. “I have students playing Liszt etudes and late Beethoven sonatas.”, or whatever it may be, because it makes them feel like they’re really good teachers. Or maybe they’re tired of the easy pieces they teach all the time. If a student asks for something that’s too hard, they just say, “Go ahead and do it.” They figure, at least they’ll be listening to something that they like. Occasionally, studying a piece far more advanced than you have played before, can help you reach new levels in your playing if you are willing to put in the hours of practice necessary to master it. But all too often, you can end up wasting valuable practice time on something you can’t end up playing on a decent level.
4. Your teacher talks over your head.
This is something true of almost all subjects. Some teachers will talk over your head. They’re talking as if you understand them, and you sort of do, but not quite. You don’t even know what question to ask. You feel like it would make you seem stupid if you ask a question after your teacher talks to you like you understand. This is particularly true with music theory. Maybe they expect you to understand some complex harmonic progression and they think, “Well, this is the C diminished, which obviously is going to be in the key of D flat.” And you go, “Mm-hmm”. Before you can even formulate the question, they’re going on to the next thing. “So this is the diatonic chord in this key. And you can see, well of course the key signature…” You’re nodding along hoping you will eventually catch on, but you never really understand anything they’re talking about! You sort of get it. And once again, you think there’s something wrong with you because you think you should understand what they’re talking about! They seem so brilliant. And if they think you understand it, you should. Well, sometimes teachers don’t appreciate the foundation you need in order to follow the whole chain of a conversation. You could be lost at the beginning and kind of nodding along, thinking, “Oh, I’ll get this eventually by the end of this talk.” But then before you know it, you’re onto the next topic, and you never even get to it. So this is a really big problem.
5. Your teacher never reviews what you’ve learned previously.
Your teacher introduces something new. Great! “Today, we’re going to do harmonic analysis.” So you spend a little bit of time with it. But that’s the last time it ever comes up. Next time they bring up something else, like how to play scales in contrary motion. They do it once, then you never hear about that again. You never quite got it. Before you know it, you’re going on to two, three, or four other things. There’s no follow through. So you end up with all these little tidbits of knowledge that go by the wayside. You never really understand any of them because your teacher is not consistent in the instruction.
6. Your teacher’s instructions are too vague.
Have you ever gotten some abstract instructions? You’re playing a piece and your teacher says, “Over here, make it sound like butterflies flying through the wind in the flowers.” You’re thinking, “Wow, that sounds great.” You’re just so impressed with the imagery. But you think, “What do I do to make it sound like butterflies?” You love the whole concept of it so much that you don’t want to ask about it. Abstract comments can sometimes give you some vague idea of what you’re after. But if it’s not followed through with specific instructions about how to achieve that sound, it can be meaningless. It might sound good, but you need more than that.
7. Your teacher makes you feel bad about yourself.
Now we’re getting to some of the heavy things. There are some really destructive things that teachers can do. A teacher might say something passive aggressive like, “That’s good if you think you like it that way.” They make you feel small. They’re saying things to you and making you feel terrible. Why is this so destructive? Well, first of all, it’s hurtful! Also, it might make you just give up on the whole idea of piano. If you’re constantly demeaned at lessons, then you lose the joy. What’s the point of studying piano if you can’t enjoy it, right?
8. Your teacher yells.
Teachers who yell, there’s really no excuse for this. It really is verbal abuse. “Why don’t you know your scales? You should know this by now!” Or, “You didn’t memorize this piece? I told you to memorize it!” Any kind of yelling, there’s no place for that in a piano lesson. There is one tiny exception. I notice that with online lessons, occasionally the technology doesn’t cooperate. A student is playing a sonata and I need to stop them. I’m going, “Hey! Hey!” Trying to get somebody’s attention online. But that’s a different story. I’m talking about yelling at a student because they’re doing something wrong. The teacher thinks they need to yell to make their point. No. That’s not an appropriate way to make a point. End of story.
9. Your teacher physically harms you.
I’ve heard so many stories about teachers who hit their students. Hitting is absolutely wrong in any circumstance during a lesson! There’s an old story, you’ve probably heard of teachers who used rulers to make students’ corrections. Every time there was a wrong finger, whack! The teacher thought, “If they know they’re going to get hit, they’re going to play with the right fingers.” Well, aside from the potential for damage, pain is not a good way of getting people to be open to concepts of instruction. Hitting is just absolutely wrong.
Early on in my teaching career, I had a student who hit me! It was a child, but a child who was old enough to know better. And Janine, if you’re listening now, I forgive you. She was actually joyful to work with and it really didn’t hurt. But it was kind of weird to be hit by a student! But hitting from a teacher, or a student for that matter, is absolutely inappropriate, obviously.
10. Your teacher doesn’t allow you to play through anything.
This can be so frustrating! You start your piano lesson and begin playing. You make a mistake early on and your teacher stops you. “That was wrong.” So then you try to continue, but you’re kind of put off by this. So you go on and make a mistake again, just because you’re not in your groove anymore. Before you know it, you’re so afraid of being stopped, that you’re not even concentrating on the music anymore! This is so counterproductive. A teacher has to let you play through your music so they know how to guide the lesson. That’s how they can see the points that need to be covered during the course of the lesson. They must listen through. Even if there are several things they think they absolutely must discuss with you, if they don’t hear everything, how do they know the priorities of the lesson? They don’t. Worse yet, it doesn’t give you an opportunity to show them the hard work you did during the course of the week. You want to show them your achievements and feel good about them before getting to work. So, if you have a teacher who doesn’t let you play through things during the course of a lesson, that’s not going to work. It’s not going to be a very useful or valuable lesson for you.
Those are the top 10 teacher fails!
I wonder if any of you have other teacher fails to share. Let me know in the comments here at LivingPianos.com or YouTube! Thanks so much for joining me. Thanks for subscribing, and telling people about Living Pianos. There are more piano videos coming your way on 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 practice with a metronome. The metronome is one of the most valuable tools for your practice. It is perhaps the most valuable tool other than the instrument you’re playing on. The metronome is something that should be on your piano whenever you practice, to check your work, and to work out passages.
How do you use a metronome to work through a section of a piece?
Let’s say you’re working on the famous Alla Turca movement of the famous Mozart Sonata in A major K.331 no. 11. You get to the F-sharp minor section that has some tricky finger work, and it isn’t gelling for you. Some people might think you should go through the whole piece with the metronome. There is value in doing that to check your tempo, and the consistency of speed throughout a movement. It’s important to make sure you’re not speeding up or slowing down. But what I’m going to show you today is how to use the metronome to be able to solidify a passage like this. So let’s say you aren’t happy with your playing in the F-sharp minor section. It’s not as even as you would like. What can you do about that?
Find a speed on your metronome at which you can play the trouble section evenly and beautifully.
Taking too large a section to do progressive metronome speeds can sometimes be counterproductive. If you work on smaller sections, and then string the sections together later, you might have more success. Not only that, but maybe there’s a section you can already play up to tempo, but the next section still needs improvement. It’s unnecessary to work all those metronome speeds on both passages.
There are metronome applications for your phone that allow you to simply tap in the tempo. That’s a real help. If you are using a traditional metronome, you just start tapping or clapping along with your music as you sing or play mentally, so you can match the speed on the metronome. Make sure that it’s a comfortable speed for you. The most important thing is finding a speed at which you can play it perfectly. Once you can play the passage absolutely perfectly, and repeatably, you’re ready to increase the speed. But make sure you find the speed at which you have absolute security first.
The first time you do this, you’re going to find it to be really difficult to play perfectly at any tempo.
Here’s the key: Spend the time on the front end. Play it perfectly even with comfort. If you find you can’t do that, slow the metronome down further until you find a tempo where you can. Make sure you can play without feeling you’re getting off from the metronome at all. Make sure it’s rock solid, steady, and repeatable. You should be able to get it at least three times in a row, perfectly. It should not only sound perfect, it should feel comfortable. Then once you have it at one speed, take the metronome up a notch.
Physical metronomes actually have one benefit that digital metronomes don’t have. On physical metronomes, each notch goes up multiple numbers instead of having every number. For example, 60, 63, 66, 69, 72, 76, 80, et cetera. Notice how the speeds progress from going up by three, to going up by four beats per minute. If you double the speed, 60 to 63, at 120, the next notch on the metronome is 126 which is double the slower speeds. It doesn’t just go up by three throughout the range of speeds on the metronome. So the progression of speeds on a metronome is calculated correctly. You don’t want to go from 69 to 70 to 71 because the increases in speed are infinitesimally small. But one notch on the metronome, or maybe two notches at most, provides just the right amount of challenge to speed up a passage. Once you can play it successfully and repeatably with comfort at one slow speed, go to the next notch on the metronome. So if you’re at 60, play the passage at 63. You may only have to play it once to feel that it’s perfect and keep going notch by notch. But anytime you have any issues where it doesn’t sound right or doesn’t feel comfortable, keep doing it at that metronome speed.
This is one of the greatest practice techniques for developing speed, fluency and evenness in your piano playing!
I recommend doing metronome speeds on a regular basis with anything in your music that isn’t up to a high standard. If you feel that there’s some passage work or any sections of your music that aren’t even, or aren’t reliable, find a speed at which you can play it perfectly, repeatably, and comfortably, and go through metronome speeds notch by notch. You can solve almost any technical problem this way. Try it out! Let me know how it works for you! You can leave comments here at LivingPianos.com or YouTube. Thanks so much for joining me. I’m 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 why it is so hard to start in the middle of a piece of music. Have you ever had that situation? Maybe during your practice something fumbles. So, you want to start from where you left off. You try, but it’s too hard, so you just go back to the beginning. Worse yet, you’re in the middle of a performance, and you have a finger slip or a moment of memory insecurity. Then you try to start in the middle, and you just can’t do it. You have to go back to the beginning. It feels so terrible! The audience is fidgeting because they already heard you play that music. This is a real issue. So, first I’ll explain why this happens, then I’m going to offer you some solutions.
It has to do with the way the human mind works.
Learning things sequentially is much easier than random access memory. For example, have you ever seen memory geniuses who can remember thousands of digits? Some of these people are just unbelievable. Or, they can remember countless unrelated items. How do they do it? The secret they use is relating the things they are trying to remember to each other. If you had random objects and you wanted to remember them sequentially, the first visual image that comes into your head can really help. So let’s say you want to remember car, toaster. Imagine a toaster with a car popping out of it. That’s a really weird image that came to my mind. So now I have a car and a toaster. And then you go on. What’s next thing on the list to remember? How about car, toaster,orange. The car is popping out of the toaster and there is an orange on top like the light on a police car. It can be anything. The more outlandish the visual images, the better. You can do a chain of dozens of unrelated things so long as the visual images are so ridiculous that you can’t forget them. The more abstract the better.
There is a sequential nature to memory.
In school growing up, I learned all kinds of music because my father taught me how to memorize. From my first lesson when I was a young child, I had to memorize all my music, and didn’t think anything of it. But in school in social studies, we had to memorize all kinds of dates, wars, generals and battles. I had no idea how to learn that kind of stuff! The sequential nature of learning is so powerful. I wish I had known about this technique back then!
What do you do when you want to start in the middle of a piece?
You get so used to going through a piece all at once, there’s a certain amount of motor or muscle memory. Your fingers themselves remember where to go! Once you get off track, they have no idea where to go anymore. There are a few things you can do to remedy this. Number one: in your practice, whenever there is a problem and you stop to fix it, find your place in the score! I know it can be painstaking to do that sometimes, but by finding the place in the score and making yourself start there, you will gain the ability to start from that place. If you had insecurity one time, you may have insecurity another time. If you know how to start from the point of insecurity, it can be a lifesaver in performance. Anytime you have a problem with something messing up in your practice, that’s an opportunity to learn how to start right at that point. That’s a terrific way of solidifying your music.
There’s more you can do! Practice incessantly with the music even after you’ve memorized something! Look at the score as you play slowly without the pedal. Utilize the metronome where appropriate, and go through to solidify your memory. Let’s say you have a piece you’ve memorized, and it’s pretty secure, but you still have issues with it. What can you do to make it totally solid so you are able to start anywhere?
One of the best techniques is to be able to play a piece without the benefit of playing it on the piano.
First, try just playing it on a tabletop or in your lap. Have the score nearby so when you get to a point of insecurity, you can find your place in the score. Go back a little bit and pass that point until you can play the whole piece away from the piano. Then, the ultimate, is to be able to play without even moving your fingers! Think the piece all the way through. When you can do that, you will gain great security in your playing. That’s why for example, memory problems often happen when you have leaps in music because your fingers have a memory all their own. But when you have to jump from one section of the keyboard to another, you have to be aware of where you’re jumping! Worse yet are pieces that have repeated sections in different keys. When you have a sonata where in one section you modulate from one key to another key, and later the same thing comes back, but it goes to a different key, you have to be very deliberate. Study your score to remember (for example), first time D, second time A, or whatever it may be. Lock it in your brain, and then be present enough in your performance to know, yes, the second time go to A. You have to have that information ready in the back of your brain, looking down on yourself while you’re playing so you’re not all just on automatic pilot! You can’t always trust finger memory. It is a godsend having it. If people didn’t have that to work with, I don’t think pianists could memorize massive amounts of music nearly as easily. But you can’t depend upon it completely.
Conductors have to memorize scores.
Conductors have to know their scores without the benefit of muscle memory. Of course, many conductors are pianists, so they may flesh out a lot of the music on the keyboard first. But for all you pianists out there, take advantage of the music you know by playing mentally. The sound of the music, the feel of the keys as well as the vision of the keyboard. The whole playing experience away from the instrument can be an awesome learning experience. In the meantime, as a first step, make yourself find where you are in the score when you have insecurity in your playing so you can learn to start from there. That’s going to help you if you ever have problems in those particular places during a performance. Thanks so much for joining me. I’m 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
