Tag Archives: living pianos

The Golden Rules for Perfect Chords on the Piano

Welcome to LivingPianos.com. I’m Robert Estrin. Have you ever heard someone play the piano and every chord just sounds beautiful? Whether they’re reading written music or improvising, the chords seem rich and perfectly balanced. Yet when you try to do the same, the chords might sound cluttered or harsh. Why is that? It turns out, the secret to beautiful-sounding chords lies in something deeply rooted in nature: the overtone series.

What Is the Overtone Series?

The overtone series is the natural phenomenon that gives sound its color and character. Any musical sound—whether from a piano, another instrument, or even a non-musical source—contains more than just its fundamental pitch. Overtones are additional pitches that naturally occur above the fundamental note. They’re what give sound its richness, just like how a color is often made up of many different shades. A pure sine wave with no overtones sounds flat, lifeless, and boring. When overtones are present, the sound becomes full and musical.

You can even observe overtones on the piano. By silently pressing a high C key (lifting the damper without making sound), and then firmly playing a lower C, the higher string will begin to vibrate sympathetically. This demonstrates that the higher C is part of the overtone series of the lower C.

The Pattern of Overtones

The overtone series begins with notes that are far apart and gradually get closer together. Starting from the fundamental tone, each successive overtone comes closer in pitch to the next. After a certain point, the overtones are separated only by half steps. This pattern is crucial because it explains why some chords sound better than others. When chords are constructed in a way that aligns with the spacing of the overtone series, they naturally sound pleasing to the ear.

Spacing Is Everything

Here’s where this becomes especially practical for piano players. Chords voiced with wide spacing between the bass and the upper notes tend to sound much better than chords that are clustered closely in the lower registers. For example, if you play a chord in the left hand using tightly packed notes, the result is often muddy and unpleasant. But if you space the bass note well below and place the rest of the chord in the right hand, the result is far more pleasing. This principle isn’t just for improvisation or modern styles. It has deep roots in Western classical music.

The Influence of Bach and Western Harmony

Western harmony, as we know it, evolved from vocal writing, particularly in the chorales of Johann Sebastian Bach. These chorales consistently show that the bass note (the lowest note) is spaced significantly below the upper voices. This spacing mirrors the overtone series and results in a resonant, clear sound. Even in simple tunes like “Happy Birthday,” when chords are voiced with space between the bass and the upper notes, the result is much more satisfying.

Beethoven and Beyond

This approach to chord voicing is not limited to Baroque music. Take, for example, the second movement of Beethoven’s Pathetique Sonata. When the arpeggios in the left hand are reduced to block chords, you can see how Beethoven employs the same concept. The bass notes are separated from the other tones, allowing the chords to breathe. This is a continuation of the harmonic principles established through centuries of musical development, rooted in the overtone series.

Applying This to Your Playing

Whenever you play chord progressions, remember to space your chords so that the bass note stands apart from the upper notes. Let the right hand handle most of the chord tones, especially when supporting a melody. Whether you’re playing simple triads or complex harmonies, this approach creates a much more rewarding and musical sound. Compare this to playing everything close together in your left hand and it usually results in a cluttered mess. Giving your chords room to resonate in line with the overtone series is key to making your playing sound professional and beautiful.

A Universal Principle

This concept of voicing chords according to the overtone series isn’t limited to classical music. From Bach to Beethoven and into contemporary styles, it’s a universal principle of good voice leading and harmonic balance. By understanding and applying this natural spacing, you can dramatically improve the sound of your chords. I encourage classical players to study their scores and observe how often composers use this technique. It’s everywhere, once you start to notice it. Thanks for joining me. I’m Robert Estrin, and this is LivingPianos.com, Your Online Piano Resource.

The Ideal First Piano: What You Need to Know


Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re exploring an important question for anyone beginning their piano journey: What is the ideal first piano? You might wonder if it should be an upright, a digital, or something else entirely. Well, my answer may surprise you.

The Ideal Piano in a Perfect World

If we’re talking about the ideal first piano, the answer is a nine-foot concert grand — something like a Steinway or another high-end brand — placed in a concert hall. Why? Because playing on such an instrument sets you up for success in so many ways. Just like learning to drive in a large vehicle can make driving anything else feel easier, starting on a concert grand piano makes transitioning to any other piano seamless. The rich, rewarding sound, the fluid touch, the precision of the action — all of these elements encourage playing and make practice enjoyable. It’s incredibly motivating. Too often I see parents hesitant to invest in a quality instrument. They buy a cheap or poorly maintained piano, the child hates the sound and feel, and soon loses interest. Then the parents say, “Good thing we didn’t spend the money.” It becomes a self-fulfilling prophecy.

Why a Concert Grand Isn’t Always Practical

Of course, a concert grand in a concert hall isn’t realistic for most people. Aside from the cost, there’s the matter of space. Even if you could fit one physically into a room, the sound might overwhelm the space without proper acoustics. A nine-foot piano needs room to breathe. So, what’s the next best thing?

Grand Piano

A full-size grand piano, though smaller than a concert grand, gives you much of the same responsiveness and tonal quality. For many homes, this is the best balance between playability and practicality. You get that rewarding action and sound without the excessive volume of a concert grand.

Baby Grand Piano

If a full grand is too large or too costly, a baby grand can still offer a very good playing experience. The action is similar to a concert grand in design, though slightly scaled down. This is a strong option for a dedicated beginner or intermediate student.

Tall Upright Piano

A tall upright piano can be a great instrument as well. In fact, some tall uprights have better sound than baby grands! However, the actions on uprights are slower than on grand pianos since hammers go up and down on grand pianos and sideways on upright pianos. Grand pianos have quicker repetition and more nuanced control. Uprights, with their sideways-moving hammers, can’t match that level of responsiveness. This becomes noticeable as students progress, particularly with repeated notes, trills, and fast passages.

Also, the pedals on uprights don’t all function like those on grand pianos. The sustain pedal on the right is the exception and the one beginners use most. So, for early learning, a tall upright in good condition can be very close to ideal.

Console Piano

Shorter upright pianos, like consoles, can still be serviceable for beginners. They don’t offer the best sound or action, but they may provide an affordable option. If you go this route, just be sure it’s in solid condition. A poorly functioning piano of any type can hinder progress.

Hybrid Pianos

Hybrid pianos are an excellent solution for many players. These instruments combine digital sound with a real grand piano action in a more compact cabinet. While they don’t replicate the full experience of an acoustic instrument, some offer incredibly realistic feel and sound for a much lower price and smaller footprint. And they can be played with headphones.

The Absolute Minimum: 88-Key Weighted Action Digital Pianos

If you’re looking for the bare minimum instrument to study piano seriously, it’s a digital piano with 88 weighted keys. Anything less simply won’t develop finger strength or technique properly to play other pianos.

Unlike other instruments like the violin or clarinet, pianists can’t bring their own instrument with them. You’ll encounter many different pianos at lessons, performances, and rehearsals. If you’re used to an unweighted action, you won’t be prepared to handle standard acoustic pianos.

Some digital pianos also feature “graded” actions, where the lower keys are heavier than the higher ones, mimicking acoustic piano mechanics. While this is a nice touch, it’s not essential. A good weighted action is far more important than whether or not it’s graded.

Choosing a Digital Piano

When shopping for a digital piano, go in person if possible. Stores like Guitar Center or your local music retailer often have a range of models to try. Brands like Yamaha, Casio, Roland, and Kawai all make quality instruments starting at a few hundred dollars.

An added bonus of digital pianos is the ability to use headphones, which can be very convenient for shared living spaces. They also interface with music software, opening doors for creative and educational tools.

Final Thoughts: Bigger Is Better (Usually)

So, what’s the order of ideal instruments for a beginner?

  • Concert grand (in a concert hall!)
  • Grand piano
  • Baby grand piano
  • Tall upright
  • Console upright
  • Hybrid piano
  • 88-key weighted action digital piano

If you can at least provide a well-maintained tall upright, you’ll be giving yourself or your child a strong foundation. It will sound and feel good, and make practice more enjoyable, setting the stage for success.

If you need help choosing a piano, feel free to reach out to me at Robert@LivingPianos.com. We sell pianos across the country and even around the world, with free delivery in the U.S.

Check out LivingPianos.com — the World’s First Online Piano Store since 2006. Thanks for joining me. See you next time!

4 Piano Exercises That Actually Work!

Welcome to LivingPianos.com. I’m Robert Estrin. If you’ve watched my videos, you know I’m not a big fan of doing endless exercises. In fact, I often suggest turning your music into exercises. That approach can solve many problems while also solidifying the pieces you actually play. But today, we’re going to talk about four essential exercises that can elevate your piano playing. Anyone serious about playing the piano should include these four things in their practice routine. You’ll get tremendous benefits from them.

1. Scales

It’s not just about playing scales. It’s how you practice them that makes the real difference. Did you know that it’s much harder to lift fingers off the keys than to push them down? I’ve demonstrated this many times. Try it yourself. You’ll notice, especially with your fourth finger, that cleanly lifting it is more difficult than pressing it down. The best way to develop control is with slow practice, raising your fingers deliberately while keeping your hands relaxed. Use only your fingers, not your arms. Let the power come from the fingers themselves. As you practice slowly, keep your thumb tucked under in advance of when it needs to play. This is crucial for fluid thumb crossings. For example, in the right hand, the thumb should be tucked under the whole time except when it plays. This preparation avoids awkward movements when playing fast. The same principle applies in reverse for the left hand. Focus on raised, rounded fingers, with no up-and-down arm motion. You’ll start to feel strength and independence building in your fingers through this deliberate approach.

Interestingly, slow practice builds more muscular benefits than fast playing. Do four repetitions slowly at a tempo like 60 BPM, or whatever is comfortable for you. Once you’re confident, move on to two notes per beat, then four notes per beat. At faster speeds, lighten up and stay close to the keys to develop fluency. There’s no time to raise your fingers at that pace, so listen carefully for evenness and consistency. There are many ways to vary your scale practice, such as changing the phrasing, articulation, or dynamics. But before exploring those variations, it’s essential to first master the fundamentals. Learn all the major scales thoroughly and with intention.

2. Arpeggios

Arpeggios are just as important as scales, and they’re practiced in a similar manner. One complication with arpeggios is that thumb crossings are wider, so you might run into issues where your hands feel cramped or awkward. Just like with scales, tuck the thumb under in advance, but also incorporate a slight hand rotation. This lets you avoid raising your shoulders or adding unnecessary tension. Your right hand rotates slightly as the thumb passes under, and in the left hand, it’s the same idea in reverse. Always prepare the next note in advance.

You can also break down arpeggios into shorter groupings, which can help develop control and accuracy. There are many ways to approach this, and I’ve made plenty of videos on the subject. If you visit LivingPianos.com and type “arpeggios” in the search box, you’ll find a wealth of material to explore!

3. Developing the Wrist

Finger technique is only part of the story. Your wrists are also instrumental in piano technique, particularly for staccato, octaves, and chords. One of the best ways to train the wrist is with a simple exercise in thirds, using just the wrist for motion. It’s important to isolate the wrist from the arm. The arms are heavy and clumsy and simply can’t move fast enough. The goal is to identify and isolate wrist motion. In the exercise, your arms should not move up and down. Instead, let the arms guide your hands over the correct keys, and strike from above with a quick, sudden motion from the wrist. If this is new to you, you’ll feel it in your forearms. These are muscles you don’t typically use, so that’s a good sign. However, if you find yourself using the whole arm to generate motion, stop. That’s not the technique you’re going for.

This might seem like a simple exercise, but it’s all in the execution. Just go through this routine a few times a day and you’ll be amazed how much it helps with control and clarity in everything from staccato to dense chordal passages. When you see someone playing crisp staccato or powerful chords with ease, much of that control is coming from proper wrist technique. Take a piece like Beethoven’s “Waldstein” Sonata, which is filled with repeated chords. If you try to play that with your arms, you’ll tire out quickly and lose articulation. Wrist technique allows for speed and lightness, which are critical in such music.

4. Octaves

The final exercise is octaves. This builds directly on the wrist technique we’ve already explored. This uses the same wrist principle but adds the strength of the hand’s arch. Why is the arch important? Because it equalizes the power between the strong thumb and the weaker pinky. Without the arch, your thumb would dominate and the sound would be uneven.

Start with a metronome at 60. Strike from above with the wrist, preparing each octave position in advance. Be sure to keep your second finger curled. That maintains the structural integrity of the hand. Use the wrist to balance the pinky and thumb so both land evenly. If you don’t do this, you’ll get a heavy, uneven sound where the thumb overpowers everything. Relax your shoulders and focus all the motion in the wrist. Imagine bouncing a ball. The energy comes from a quick, natural release, not a forced push. If you try to play octaves with your arms, you’ll quickly hit a wall with speed and stamina. The wrist allows for quick, fluid motion and prevents fatigue. Do as many repetitions as you can while maintaining proper form. Over time, this will dramatically improve your endurance, clarity, and control with octaves.

These Are Four Essential Exercises

Spend just a few minutes on each of these every day and you’ll see real improvement in your playing. Learn all the major and minor scales and arpeggios, and take your time. There’s no rush. You have a lifetime to enjoy the piano and develop your artistry! Thanks for joining me here at LivingPianos.com, Your Online Piano Resource.

The One Piano Exercise That Can Transform Your Playing

The #1 Most Overlooked Piano Technique (Note Release)

Welcome to LivingPianos.com. I’m Robert Estrin. Today we’re going to discuss the secrets to releasing notes on the piano. I don’t know how many of you have ever thought about this, but it has a profound effect on your music. Of course, pianists often focus heavily on how to press the keys—technique, tone, expression—but the release is equally important.

Beyond the Attack: What Happens When You Let Go

You can shape the character of a passage by how you let go of the keys. Whether you aim for a smooth legato line or a slightly detached articulation, it’s the release that determines the space between notes. This is a subtle, but critical element in creating clean, expressive scale and arpeggio playing—not just how notes begin, but how they end.

The Physical Mechanics of Releasing Notes

When you lift your fingers off the keys, the dampers come into contact with the strings and stop the sound. This release process can be managed in conjunction with the sustain pedal, and the speed at which you lift the pedal also dramatically affects tone and character. For example, if you’re ending a Chopin nocturne and you want the sound to gradually fade away, you must release your hands and the pedal very slowly. This creates a gentle, nuanced decay. It allows the final sound to linger beautifully in the air, as you might hear in the B-flat minor Nocturne.

Not All Music Wants to Fade

Now let’s look at a completely different approach. Suppose you’re playing Bach. Remember, Bach didn’t compose for the modern piano. His keyboard music was written for instruments like the harpsichord, where the sound stops abruptly and often includes a clicking noise from the mechanism—historically, duck quills plucked the strings. To stay true to that style, it’s appropriate to release quickly at the end of a phrase or movement. For example, in the first movement of the Italian Concerto, the ending benefits from a crisp, sudden release. This gives the music a rhythmic vitality and energy appropriate to the style. If you were to play that same ending with a slow release, like you might in Chopin, it would completely change the mood. The music would lose its sense of closure and momentum.

Style Determines Release

Conversely, imagine ending a romantic piece like that same Chopin nocturne with an abrupt, percussive release. It would feel jarring and inappropriate—almost like an emotional disconnect. As I like to say, it’s like the emotional equivalent of a tender moment followed by a slap! It simply doesn’t fit. So, when playing romantic music, let your sound linger. Release your hands and pedal slowly. When playing Baroque music—or even more vigorous 20th-century repertoire like Prokofiev—use a quick, clear release to punctuate the energy.

Match Your Release to the Music

How you release notes at the piano plays a major role in shaping the character of your performance. Whether you want the sound to fade gracefully or end with clarity and precision depends on the style and emotional intent of the piece. Be sensitive to the sound and always align your technique with the music you’re interpreting. Let me know how helpful this is for you in the comments here at LivingPianos.com and on YouTube.

Bright VS. Warm Voicing: Can You Tell the Difference?

Welcome to LivingPianos.com, I’m Robert Estrin. In a recent video, I discussed the concept of piano voicing, specifically focusing on the distinction between warm and bright voicings. If you’re interested in a detailed exploration of these voicing techniques, you can check out that video here. Today, we’ll conduct a sound test to illustrate the differences between a piano with a bright voicing and one with a warmer tone.

Sound Test: Comparing Voicings

I’m going to play the same excerpt from Chopin’s F-sharp Nocturne on two different pianos to showcase these differences. First, I will play the excerpt on the Schiedmayer piano. This German-made piano is known for its bright voicing, which complements its distinctive sound. Listen carefully to the tone produced by this piano. Next, I’ll play the same excerpt on the Steinway Model A, which features a warmer voicing. This model is known for its rich, warm tone that is characteristic of Steinway pianos. Notice how the tone contrasts with the Schiedmayer’s clear as a bell sound.

Can you tell the difference?

By listening to both pianos, you’ll be able to hear the different qualities of their tones. The Schiedmayer’s bell-like sound contrasts with the Steinway’s warmer, more resonant voice. Both pianos offer beautiful voices with unique characteristics. I’m eager to hear your opinions on the differences in tone. Please share your thoughts in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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

Why Performers Never Sneeze: (And My Student’s SHOCKING Nose Disaster!)

Welcome to LivingPianos.com, I’m Robert Estrin. Have you ever noticed how rarely performers sneeze during a performance? Whether it’s a solo piano recital or a lengthy musical piece, sneezes seem almost non-existent. But why is this the case?

The Power of Concentration

One reason might be the intense concentration that performers experience. When musicians are deeply focused on their performance, their awareness of physical sensations, including the urge to sneeze, seems to diminish. This level of focus can be so absorbing that it overrides many of their bodily functions.

A Fascinating Story from the Stage

To illustrate this point, let me share an intriguing anecdote about a former student of mine. While he was still a teenager, he gave a remarkable performance at a recital. In the middle of a particularly demanding Beethoven piece, something unexpected happened—he started to experience some nasal congestion.

As he continued to play, his nose began to run. Despite this discomfort, he had no choice but to continue performing. His dedication was evident as he played on with remarkable skill and composure, even though the long string from his nose had to be devastating for him!

Limits of Control

This experience highlights an interesting fact: even with immense concentration, some bodily responses are beyond our control. Though sneezing is a natural reflex, the ability to control it completely during high-stress situations like performances remains limited.

Have You Ever Seen a Performer Sneeze?

It’s worth asking: Have you ever witnessed a pianist or any instrumentalist sneeze while performing? It’s a rare occurrence, and for wind players, it could be quite problematic. Nonetheless, it underscores the remarkable focus and discipline required of performers.

Thanks for joining me in exploring this unusual aspect of performance. If you enjoyed this insight and want to see more content like this, consider subscribing to the channel. Your support helps bring more interesting and informative videos to a wider audience. Feel free to share your thoughts and experiences—have you ever seen a performer sneeze during a recital? Let us know in the comments here at LivingPianos.com and on YouTube! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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