Tag Archives: music theory

2 Types of Encores – for My Parents – Scriabin: Etude in D# minor Op 8 Debussy: The Little Shepherd

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about the two different kinds of encores. There are fundamentally two different types of moods you want to create in encores, and I’m going to get into that. But first I want to start with a personal reflection for you.

My father, Morton Estrin, had such a profound effect upon me.

I want to talk a little bit about my father’s experiences as a performer. As much as he performed, he got extremely nervous for performances. And when he would walk out on stage, it was a terrifying experience for him! He would get so nervous, his pedal foot would shake. I remember watching him perform and feeling so badly for him. There he was, trying to control things, and his foot was going up and down like crazy! It was once kind of funny, in retrospect. In one of his New York recitals, the reviewer commented on his beautiful performance and his “fluttering pedal technique.” Little did he know it was nothing intentional. It was something my father fought with his whole career. And the way he overcame it was very interesting. For him, the easiest thing to start a program with was something really heroic. He could go out there and play the most bombastic virtuosic music right from the get go. With that, he didn’t have any trouble. But to go out and start a program with a delicate piece, like something of Mozart, or a Schubert Impromptu, was extremely challenging for him. With that very delicate music, any little motion of any part of the body has such profound effects. He worked really hard to overcome this and was proud of himself that he could go out on stage and play something delicate as an opener for a program. Because programmatically, he wanted to be able to have architecture and not just start with the most heroic piece. Usually you want a big finish at the end of your program.

What was interesting about my father’s performances, we would always go backstage at intermission and hug him and tell him how beautiful it sounded. He couldn’t even believe it because he was so terrorized up there for the first half! But in the second half, he would relax. By the time he got to the end of the program, he was in his element. He would play encore after encore and the audience would cheer for more! He would play five, six encores, as many as the audience wanted. And at that point he could do anything. He had no nerves left whatsoever. It was a thrilling experience for everyone who heard him!

There are two different types of encores.

When a program ends and you come out for an encore, the audience has been through a whole program. You want to charge them up! So you play something like a Chopin etude, something virtuosic and energetic. But what if the program ended with something big and dynamic and it’s already a blockbuster at the end of the program? That’s when you want to flip it and come out with a poetic encore, maybe a Chopin Nocturne or Prelude. That could be just the mood you’re looking for.

My father recorded the Scriabin Etudes Opus 8.

It was the first modern recording of the complete Opus 8, and it won record of the year. You can find them on YouTube. His performances don’t sound like etudes. They are rich musical experiences. He didn’t play them as just technical exercises. He played them for the gorgeous music that this early Scriabin is. The Opus 8 was very different from later Scriabin where he explored very sophisticated harmonies that bordered on atonality. Early Scriabin is sometimes compared to Chopin. It really has a voice all its own, but it’s quite chromatic, beautiful romantic music that is extremely emotional. I got to hear my father play them in New York at Lincoln Center. It holds a very special meaning for me.

I’m going to play the D-sharp minor Etude from Opus 8 which is the last of the set. Then, just as if the program ended heroically, because that is an incredible blockbuster piece, I’m going to go right into a movement of Debussy from the Children’s Corner Suite, The Little Shepherd, which was my mother’s favorite piece. I would play it for her as an encore. So this is very special and a personal performance for you. You can listen to the accompanying video. I hope you enjoy it.

Those are two completely different types of encores. What is appropriate depends upon your programming. So remember, if you’ve already pulled out all the stops, and you’ve ended really big, then bring it down and show poetry and express intimate feelings. Show what you can do to the soul! On the other hand, if the program ends with something long and melodic like a Schubert Sonata with beautiful architecture, then you’ll want to charge people up with your encore so they leave the hall with energy. Judging your encores is very important. Sometimes you can even have two or three encores prepared. Or maybe you’re brave enough and you have an audience that’s enthusiastic enough so you can play a bunch of encores like my father used to do!

I hope you’ve enjoyed this. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Getting into a State of Flow With Your Music

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about getting into a state of flow with your music. You’ve probably heard this term before, and we’ve all experienced it. What does it mean to be in a state of flow? When you’re completely absorbed in something, whether it’s making pottery, a walk in the woods, practicing the piano – it can be almost anything. You stop thinking about what you’re doing, and you just are. It’s all one experience where you don’t have that sense of looking at yourself and telling yourself instructions with words. Instead it just flows naturally.

Getting into a state of flow during a musical performance can be a magnificent experience.

If you’re playing written music from the score, you have to keep a certain amount of your cognition so that you don’t take a wrong turn. You don’t want to get carried away! But you can get to a point with a score, if you are intimately familiar with it, where you are just absorbed in it completely. It comes out of you so naturally that it isn’t even work anymore and time seems to disappear. Have you ever had that experience? If you can get into that state in your practice, you’re really doing well.

Improvising is a fantastic opportunity to get into a state of flow.

With improvisation you don’t have to focus on a score. It’s much easier to get into a state of flow where you’re no longer thinking about what you should do next. It just comes out of you, and you can feel the trajectory. You can feel the flow of the music. You are just part of it. In music and in life, to be in the moment is the ultimate feeling! But it’s one of the most difficult things to do. People use meditation and other things to try to get into that state of flow. But music is a fantastic vehicle for that. So, let yourself go! Sometimes you just have to see where music takes you. You can do that in the privacy of your own home. Eventually, if you have the confidence and the security in your playing, you can do it in performance as well!

I hope this is enjoyable for you. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Happy Accidents in Music

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about happy accidents in music. This transcends just performance. This can occur in composition, improvisation, and so many aspects of music. What are happy accidents? When something unexpected happens, particularly in a live performance, where you can’t just stop and try it again. So you go with it and it takes you to unexpected places. From that point on, you will envision this piece in a way that you had never imagined before.

Just go with it.

Now, here’s the thing that I want to encourage all of you to do. If while playing piano something happens where you’re feeling uncomfortable for some reason, maybe you took a dramatically different tempo, go with it and see where it takes you. You can discover things. Maybe you won’t want to take that faster or slower tempo later, but you envision the piece in a new way that you never would have come upon before. In composition, it’s even more important to experiment wildly, with abandon. Don’t be worried about what comes out. You can always judge later what you want to keep and what you want to discard.

Don’t let the beauty in life pass you by!

I say that happy accidents can only happen if you pay attention to them. Otherwise you might just hear it as a mistake and move on. If it’s interesting, listen to it. You might discover something new. It’s the same with life. Take in the beautiful things around you, even if you don’t expect them to be beautiful. Maybe you’re on your way to someplace and you pass a beautiful scene without expecting it. You didn’t plan this, but here it is. Enjoy it! It’s the same thing with your music, your performance, your composing, and your improvisation. Pay attention to what is around you and take advantage of those opportunities. Explore them further, because they can be the seeds of creativity!

I hope this is enjoyable for you! Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Piano is a Flawed Instrument!

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how piano is a flawed instrument. Now, I love the piano. It’s incredibly expressive. It’s one of the greatest instruments of all time. So I’m not complaining about the piano in any way, shape, or form. But it’s important to understand the limitations of the piano. The piano is a tempered instrument, meaning it can play in all keys. So, every single interval on the piano, with the exception of the octaves, are out of tune.

There are no two notes you can play on the piano other than the octaves that are in tune with one another.

So when you play a perfect fifth, it is not perfectly in tune. How can this be? Well, years and years ago, keyboard instruments were tuned for the specific key they were playing. String players, singers, and other instrumentalists will naturally adjust their tuning to make every interval pure. It’s just not mathematically possible to do that on the piano to be able to play in all keys. Every interval is a little bit out of tune, but they’re all equally out of tune in all keys. That is what is meant by tempered tuning. And we’re so used to it now that it sounds in tune to us as long as the piano is in tune. It’s important to understand this fact.

I recently listened to a piano roll of Gustav Mahler playing his Fifth Symphony, the first movement. If you’re familiar with any Mahler symphonies you know that these are incredibly complex orchestrations. Piano rolls are actual performances of the great composers and pianists from years ago before audio recording existed. A lot of times they don’t sound quite right, because the playback instrument has to be regulated exactly the same as the instrument that it was recorded on for it to work properly. Well, this is an amazing recreation of Mahler’s piano playing, which is astounding! This is an orchestral work with lush strings and brass with a huge orchestration. So, in order to achieve the sustain of these rich sonorities, there are tremolos all over the place. Because if you’re trying to get the sound of sustained strings and you just play the notes, they will quickly fade away. And you certainly won’t be able to create a crescendo.

Gustav Mahler plays his Symphony no.5

A crescendo of one note on the piano is virtually impossible.

There are nuances of tonal shading you can impart using the pedals. A crescendo is a little bit of a stretch, but there is a small amount of crescendo you can achieve by judicious use of the pedals. Starting with the una corda pedal, and then putting the sustain pedal on just as the note begins to fade out will give a little extra swell, but that’s all you’ve got to work with.

So yes, the piano is a flawed instrument. But what a wonderful instrument it is anyway, because of all the things it can do! You have this huge range of keys from the very highest notes to the lowest notes. And you’ve got the ability literally at your fingertips to play complex orchestrations that are all but impossible on just about any other single instrument. So, as flawed as it is, I love the piano! How do you feel about this? I’d love to hear your thoughts on this and other subjects. Thanks again for joining me! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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My First Chopin – Prelude in E Minor

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to share with you a personal story about the first Chopin piece I ever learned. It’s a funny thing. I was in my office going through music, because we just moved a few months ago and I’m still sorting through things. And what did I uncover but a book of Chopin music. It looks just like any old Schirmer edition of Chopin Preludes. But if you open it up you can see that this is the book I used to learn my first piece of Chopin, the E minor Prelude. You can even see where my father assigned the piece to me. It’s really something after all these years to uncover this. And it brings up a few really important points.

Chopin had an incredible output for the piano.

Chopin was incredibly prolific. He wrote ballades, scherzos, polonaises, etudes, mazurkas, and many waltzes, as well as monumental concert pieces, sonatas and concertos. Yet he wrote pieces that can be approached by relatively intermediate pianists. This isn’t to suggest that these preludes are in any way lacking or aren’t profoundly deep pieces of music, because they are. That’s what made me so unbelievably enthralled. I remember when I first played this piece, I couldn’t even imagine any other piece of music, much less another piece of Chopin, being as enthralling. I was just completely in love with this piece! The funny thing is in revisiting it, I still have that same passion for it! Truth be known, I’ve played this piece many times over the years and I never play it the same way twice. I want to just talk a little bit about this unique piece which I’m sure many of you know.

The interesting thing is how simple the melody of this piece is.

If you just listen to the melody of this piece out of context, without the accompaniment, it’s one of the most boring melodies you could ever imagine. How can this possibly be a beautiful piece of music? Well, it’s the lush, rich, ever-changing harmonies undulating underneath in eighth notes that brings this piece to life. Why did Chopin write eighth notes in the left hand with a slow melody on top? It’s because of the physics of the sound of the piano itself. If you just had sustained chords in the left hand it wouldn’t really work, because when you play a chord on the piano it just dies away.

Imagine what this would sound like with a string orchestra.

So much of Chopin’s music is evocative of the human voice or sustained strings, and yet it’s all done with a percussion instrument. Did you know that the piano is technically a percussion instrument? You’re not hitting it with sticks or mallets, but indeed there are hammers that are hitting the strings! To create a singing line out of the piano is really the art and magic of illusion. And when you have a score written by Chopin, it’s amazing how he brings it to life! That’s the mood you can create on the piano. How is it possible? By listening to the ever-changing harmonies while keeping them subtle enough to draw the attention to this incredibly simple melody. Each and every note of that melody takes on profound implications because of the ever shifting harmonies. In the accompanying video I play a performance of this for you so you can hear what I’m talking about. To revisit this prelude after all these years, and to share it with you, is a great pleasure. I hope you enjoy this performance of Chopin’s prelude in E minor.

I hope you’ve enjoyed this! I will be sharing more personal stories about my childhood and my life in music that I hope you enjoy! Again, I’m Robert Estrin here at LivingPianos.com. This is your piano resource! Thanks again for joining me. See you next time!

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How to Tune Your Own Piano: Part I

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about how to tune your own piano. Can you tune your own piano? That is the real question. I’m going to provide you with the information so you will know if you can tune your piano, and if you want to tune your own piano. But more than that, I’m going to show you an incredibly valuable skill that you can all take to heart: how to touch up the tuning on your piano! That is something I think every pianist should learn how to do. I’ve been doing it for years. You’re going to love it once you learn how to do this!

What tools do you need to tune a piano?

You will need a tuning wrench, sometimes referred to as a tuning hammer. Make sure it has a removable head. You should look for a star head, not a square head. Because with a square head, you only have four positions that you can put the tuning wrench. That is really cumbersome because as you’re going to discover, it’s really hard to move a tuning hammer! So, you want a star head that can be in many different positions. That’s going to be a lifesaver for you! Don’t skimp on your tools either. It’s not that expensive. There are tons of them on Amazon starting at less than $40. Then you just need a couple of wedges so you can mute out some of the strings. As you know, through most of the piano, there are three strings to each note. You need to be able to hear just two of the strings at a time when you’re tuning one string to another. For tuning grand pianos, this is really all you need. To tune a whole piano you can use software for the pitches, but these few tools are all you need to touch up your tuning.

Why is it so important to touch up the tuning of your piano?

It can take hundreds of tunings before you have the skills to get a piano not just to be in tune, but to hold its tuning any length of time at all. Any competent tuner can get a piano in tune. But the first time you play it, notes can go out of tune. It’s really hard to set the strings and pins in such a way that the pitches will hold. Touching up is a totally different ballgame. Let’s say you get your piano tuned. A few days later you’re playing it and notice notes drastically out of tune right in the middle of the piano. It can drive you crazy! You scheduled this tuning, you paid good money for it, and now your piano is just not fun to play at all. What do you do? Hire them back for another tuning a couple weeks later?

If you have the tools and the knowledge – You can touch up the tuning on select notes yourself!

 

Armed with these tools and the knowledge I’m going to show you, you can alleviate the problem of stubborn out of tune notes on your piano. And you can actually extend the tuning of your piano to last much longer just by going through and touching it up on a periodic basis. Let’s get right to work on this. Now, my piano is pretty well in tune. There are some notes in the very high register that are not perfect. But those high notes are really very difficult to tune. The slightest motion of the tuning wrench knocks the pitch way off. To get it just right is very difficult. The lowest notes on the piano are also difficult, for a different reason. Particularly on smaller pianos, there’s so little fundamental pitch it’s hard to tell what pitch you’re even hearing. But If a note in the very high or low register is out of tune, it’s not going to affect you that much. You’re not going to encounter those notes nearly as often as you will with notes in the middle register of the piano. So, that’s what I’m going to focus on here today, because it’s the most value with the least work.

Let’s start with middle C. Does it sound in tune to you? How do you know if a note is in tune or not? Do you look at a tuner to see if it’s in pitch? No, because the important thing is for a piano to be in tune with itself. If your piano is tuned to 442 and then you play A and you want it to be at 440, that A is going to be out of tune with the rest of the piano. When you’re touching up the tuning, it’s usually only one or two strings of a certain note that will be out of tune. A unison goes out to make it sound funny. It’s not the whole note that is going to go out. That rarely happens in any kind of uniform fashion.

You don’t need a chromatic tuner for what I’m showing you. You do need to listen.

When one of the three strings is out of tune on middle C on your piano, instead of the pure sound, you’ll hear waves. If it’s slightly out, the waves will cause a slow undulation. As it gets more out of tune, they become quicker and quicker. So, the first thing you do is find the three strings for middle C. By pushing down the key, you release the damper so that you can pluck them. Then you’re going to follow the string all the way back to find the pin that associates with the right string. When one string is low you can hear that slow wave. Listen for it. If it’s even further out of tune, that wave will get faster.

This is what I’m talking about. You’re playing your piano just after it’s been tuned and a note goes out for no particular reason. It can happen. The weather or just playing hard can knock a string out of tune. If it’s right in the middle of the piano like this, you won’t even want to play your piano. And you don’t want to spend a bunch of money getting the whole piano tuned again. Even just getting your tuner there, they have to charge you for their time, right? So what do you do? Well, the first thing you do is you identify which string is low. You want to listen for it, so listen to the separate strings. Go ahead, pluck them and listen. See if you can notice which one is lower. One thing you want to do is check to make sure the other two strings are in tune with one another. You can do this by muting the string that is low. Now you’re listening to the other two strings. Let’s say those two strings are absolutely in tune with one another. To be able to compare the out of tune string with an in tune string, having just one string sound with the out of tune string is better. So, you want to mute one of the two in tune strings so that you’re left with one string that’s in tune and the one that is low.

Once again, you pluck the strings to be sure you got it right. Push down the key to release the damper so you can pluck them. Now you’re ready to adjust the pitch. When you try this the first time you will develop a deep respect for your piano technician, because it’s really hard to get even one string in tune! Now, you might just luck out and get it right on the first pull. It can happen. But you might go back and forth for five or ten minutes trying to get it locked in. It’s hard to believe how much effect the minuscule motion on your tuning hammer has on the string.

I’ve seen my piano technician, who’s a master concert technician, struggling to get the string locked to the right position. This is because there’s huge amounts of tension on the strings.

Tension builds up at all the points of termination. Right near where the felt is, there’s tremendous tension. As soon as you hit a note hard, that tension is released on the other side where there is termination at the bridge. You can get a note in tune, but with the first loud strike of the note, the string tension equalizes across the points of termination. That’s why it’s so important once you get your piano tuned to give a couple of hard blows to the key so that the first time you play it loud, it doesn’t go out of tune.

Now you want to pull the low string up to pitch very gently. As you do this you will want to check to make sure you didn’t pull it too far. Listen to the strings again. First the string that is in tune, and then the one that was low before to see if it’s still low. If it’s still low you are going to pull a little bit more. When it’s really close it’s tough to hear which one’s higher and which one’s lower. Once again, push the key down and pluck them. Now if it’s extremely close, you can listen to the difference between the slow undulation of the out of tune string played with the in tune string, compared to the purity of the two strings that are in tune with one another. Once you’ve gotten the two strings sounding in tune, listen to all three strings. Now that note sounds good!

What you’ve just done is tune one string on a piano that has somewhere between 220 to 240 strings!

It gets more complicated if your piano is really out of tune. The pitch of the whole piano could be slightly low. As you start tuning one section of the piano, the pressure that is exerted on the bridge in one area pushes the soundboard down affecting the previously tuned area of your piano. So, you have to go through the tuning at least a couple of times to get anything to hold. Tuning a whole piano is very complicated. You also have the factor that smaller pianos don’t have such pure sounds. They have a lot of what are called overtones, which are color tones that are higher notes contained within the lower notes. Sometimes those can conflict with the fundamental pitch of other notes. So, skilled tuners know how to finesse the tuning to get a sweet sound out of all different pianos.

There is good news for you if you want to learn how to tune a piano like a pro!

 

There are software programs that can take the tunings from great tuners and take into account the size of the piano and the pitch you’re starting with. By sampling all the A’s on the piano, for example, it knows how much stretch you need. It’s still an arduous task to tune a whole piano. So, I recommend all of you get your feet wet by touching up your piano. This is something that will really prolong the tuning of your piano and save you when you have one or two notes that are out of tune driving you nuts! Touch up tuning is a great skill to develop! I hope this is enjoyable for you! If you’re interested in learning more about piano tuning I’m happy to share with you a bit more about it. Today I’ve given you a valuable skill that any of you should be able to take to heart and make your piano sound better, longer, by touching up the tuning. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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