Tag Archives: piano lessons

How to Reach the Last Row in a Concert Hall

Robert Estrin here at LivingPianos.com with a really fascinating show that I think you’re going to really appreciate, which is how to reach the last row in a concert hall.

If you’ve ever been to a performance of a world-class pianist, it’s an unforgettable experience. I had the opportunity to hear Vladimir Horowitz on several occasions. The first time was when he made one of his many comebacks, and every time he did this, it was a huge event. This was in 1974, and he was playing a performance at the Metropolitan Opera House.  And if you have any idea of the scope of the size of that hall, you wonder how could you possibly play a concert in a hall that big?

I actually camped out at Lincoln Center, the tickets went on sale 6 AM and I got there at nine at night – I was number 311 in line already!  Can you imagine? Interesting thing is that about 2:30 in the morning, Horowitz and his wife came by with coffee and donuts for the people waiting camped out there. It was really something. I get tickets and it was limited to only two.  And my tickets were way, way up. The amazing thing was he was able to project a sound that came right through to the last row with beauty and singing quality. That was really something.

Well, here’s the interesting thing. Just a couple of months later, I was studying with Constance Keene at the Manhattan School of Music, and she was really good friends with the Horowitz’s. She actually was able to get tickets to a Carnegie Hall Concert he was giving. On this occasion, I was in one of the very front box seats and I could actually hear what he was doing that made it possible for me to enjoy his performance from the last row. Everything was punctuated much bigger.

Have you ever been to a museum and seen a great painting of one of the impressionists? You look from a distance and it’s just gorgeous colors and patterns, and you get up close and see all these angularities to the strokes. It was kind of like that hearing him so close in that front box seat.  I could hear what he was doing in order to project to the back of the concert hall. In the video included with this article, I demonstrate this for you. I’ll show you what a delicate way of playing Mozart sounds like and then a way of playing Mozart that would go to the last row of the hall.

In the video above, you’ll hear a perfectly valid and wonderful way to play Mozart with a nice characteristic delicacy. The G major is a 283 Köchel.

Up until recently I’ve been playing it that way and I’ve been experimenting with a completely different way of playing it. Using a lot more arm weight, projecting a bigger sound, one that would carry through in a very large hall. When you listen to the video, compare these different styles.

So it’s not a right or wrong proposition here.  And I would say to a great extent, it comes down to where you’re performing.  In a big hall, approach a piece by playing bigger and with more arm weight, while punctuating the fast notes. Rather than playing everything in a fluid matter the way I did the first time, lighten up so that you can negotiate them. So that’s the secret.  You have to play with more arm weight, more angularity, and punctuate fast passages by detaching the notes from one another so they carry through, even with the reverb of a large hall.

So these are some pointers for you.  You’ve got to always listen to the piano and the room you’re playing in so that you can produce a sound that carries through to the last row.

Thanks so much for joining me again.  This is Robert Estrin at LivingPianos.com,  your online piano store.
949-244-3729  info@LivingPianos.com

 

Is it OK to Tap Your Foot While You Play the Piano?

The question today, “Is it okay to tap your foot when you play the piano?” It’s an interesting question. You see a lot of pianists tapping their feet and you wonder, “Well, if it helps you to keep time, isn’t it a good thing?” Well, yes and no.

It depends upon to a great extent the style of music you’re playing.

In groove-oriented music, tapping your foot can really be a help. Jazz musicians, particularly with something with an intricate rhythm, are able to maintain the pulse with bodily motion It is something some great jazz artists do successfully.

What about classical music?

If you want to maintain a good, steady beat, there is no substitute for using a metronome, which will measure your music. Why is a metronome preferable to tapping your foot? There are a lot of reasons.

First of all, if you tap your foot, you may get faster and slower. Alos, you may not be playing exactly with your foot. But the worst thing is this. You get used to tapping your foot, and then you can’t control it anymore!

What happens when you have to use the pedals? If you’re tapping your right foot, you’re totally out of luck, and even if you’re tapping the left foot, you can’t use the soft pedal (the una corda).

And it’s distracting to the audience.

Imagine someone playing a beautiful, delicate, slow movement or a nocturne, and you see a foot going. It’s inappropriate. You don’t want to distract the audience from the music.

Now, I will give you a little trick that I sometimes use. Sometimes, just to make sure, particularly in slow movements when you want to make sure you’re holding long notes long enough, (which is a whole other subject for another video coming to you soon) I will tap my toe in my shoe, or the heel of my foot very gently where there’s really no visible motion of the foot. But it helps me make sure not to rob long notes. This is really valuable in slow movements.

But if you’re playing something fast, if you want to tap your foot along, it’s really not going to help you. If you want to solidify your tempo and rhythm, use the metronome. And for other styles of music, playing with a rhythm section is great.

There are even programs like Band-in-a-Box or Garage Band,

or any of a number of intelligent arranger keyboards that you can play along with. This provides not just a click, but a whole rhythmic style which can be even more helpful. You can have a virtual rhythm section accompany you in your practice, so when you get together with real musicians, you’re at home.

So these are some perspectives on tapping your foot. I wouldn’t say it’s a complete no-no, but it certainly can be distracting in classical performances if it’s visible.

Thanks so much. I enjoy your comments by the way. Keep them coming, and remember to subscribe to LivingPianos.com so you’ll get all the fresh videos. Again, Robert Estrin here at Living Pianos, Your Online Piano Store 949-244-3729 info@LivingPianos.com

How to Turn Pages While Playing Piano

The question today is, “How do you deal with page turns on the piano?” This can be a real problem. One solution that works great is simply to memorize your music! When this isn’t the case, in some pieces, you might be lucky enough to have rests in just the right places giving you time to turn the page. Or, perhaps there’s a place where the left-hand doesn’t do anything and you have a moment to grab the page. But most of the time, this isn’t the case.

That’s why in a lot of concerts of chamber music, when you have a pianist playing with other musicians which is generally done with the score, you’ll see a page-turner on stage. If you don’t have that luxury? Is there anything you can do?

I’ve got some pointers for you! First of all:

You must practice your page turns!

Make sure to fold over the bottom of the pages so you can easily grab them. Then you want to really work on those sections so you can get through them. You may have to take your left hand up just for a moment and leave out a note or two. If you learn the part well enough, you might know a little bit past the page turns or you might have parts memorized just a bit before the page turns so you can get through the piece without disrupting the music.

Another trick that I have done is to copy parts of the score and put them above the pages or on the side of the pages. I have had some scores that I will copy all the pages and put them all the way across in one long sheet taped together. If the piece is too long, at a certain point with perhaps four or five pages taped together, I’ll (somewhat violently) rip off the top set of pages, revealing another set of pages underneath! So you have one disruption instead of several every time there’s a page turn.

For solo repertoire, there are so many benefits to memorization, aside from the issues of page turning. I recommend it really highly. But when you’re in a pinch and you don’t have a page turner, these are some solutions.

What about technology? Well, fortunately,

You can use on iPad or other tablet

and you can turn the pages very quickly, or even use a pedal to turn the pages for you! If the music you’re looking for isn’t available online, you can scan it and turn it into a PDF to have on your device.

A great product is a pedal by AirTurn for turning pages.

VirtualSheetMusic.com also has great technology. You not only can use AirTurn pedals to turn the pages, you can actually use your head! You set how much range of motion it takes to turn the pages, so you don’t accidentally set it off, and whenever you want the pages to turn, you simply move your head to the side and your page turns for you!

So there are solutions for you when memorization isn’t in the cards for you. I hope this has been helpful. Thanks for the great questions. Again, Robert Estrin here at LivingPianos.com, your Online Piano Store info@LivingPianos.com 949-244-3729

Honesty in Musical Expression

Music expresses emotion. It can be a great challenge to bear your soul in a genuine way when performing music. It can be a challenge avoiding distractions whether it is noises from an adjacent room or a squeaky bench. Worse yet, you may find your mind wandering to concerns of daily life taking you away from your purpose as a performer – to reach the audience with a message only music can convey.

Perhaps the greatest challenge in offering true feelings in your music is when you are improvising, particularly freeform improvisations, not music based upon written scores. This is something most typically associated with jazz musicians, but not exclusively.

In the accompanying video, you will hear a performance of a freeform improvisation in which my purpose was purely to convey honest emotions.

Sometimes it can be a rewarding challenge to create musical forms such as Sonata or Theme and Variations. But in this instance, my goal was not to impress the listeners with displays of virtuosity or musical prowess, only to convey musical expression in a genuine way.

This is one of the greatest musical challenges! Fortunately, I had a great Baldwin SF-10 grand piano to inspire the performance with its beautiful sound. Please feel free to leave your thoughts about this subject.

Robert Estrin at LivingPianos.com Your Online Piano Store info@LivingPianos.com 949-244-3729

Two Types of Infinite Expression in Music

Musical expression is the personal take a musician has on the music they perform. It’s a uniquely individual experience. What do I mean by the term, “infinite expression” and how can you apply this to your music? Let’s start by explaining the two concepts of infinity and how they can relate to music.

The first concept of infinity is the idea of moving endlessly in any direction.

For example, if you go out into space and just keep going in any direction, you could theoretically go on forever. So, when it comes to music, what if you were to allow the music to flow in any direction with no limits? In the video included with this article, I demonstrate this concept with Chopin’s A flat Ballade No.3, Op.47.

If you listen to the piece in the video you might have an interesting response. Those who are intimately familiar with the piece would probably not be pleased with the performance. However, those of you who are new to the piece might have a more positive response. How can this be? In the context of the whole piece, adding so many liberties with timing, expression and voicing with infinite expression causes the music to go in so many different directions that it would be unsustainable. The whole piece wouldn’t hold together. It’s impossible to maintain the music cohesiveness for the duration of the piece playing in this manner. Infinite expression in this sense simply doesn’t work for classical performance.

The second concept of infinity is the idea of going halfway to a destination again and again repeatedly.

This presents another concept of infinity. Your musical framework allows for minute levels of expression and detail which is truly limitless. The nuance of each note, the levels and the balance of each chord, there are an infinite number of possibilities to add more character and expression to your performance. This concept of infinity can be applied to musical expression. This might sound like a complex concept, and it is, but I have provided an example of this type of performance in the video included in this article as well.

If you listen to the second performance in the video, you will notice how it contrasts with the first performance. While there are an infinite number of gradations of tone, balance and expression, there is a continuity that holds the music together.

I could play that section over again and again and never play it the same way twice!

Adding subtle details to different elements allows you to create character and expression while potentially never repeating yourself – a truly infinite form of expression.

Adding subtle details to your music within a framework allows for infinite possibilities in your music while still maintaining the intentions of the composer and the structure of the music. Yet with this concept, you can still add your own unique voice and expression to everything you perform. When you look at your performances in this way, it’s incredibly exciting – you can truly play a piece thousands of times and always add something fresh and creative.

I hope you have enjoyed this video and I encourage you to experiment with this type of expression in your music. Thanks for joining me, Robert Estrin here at LivingPianos.com, Your Online Piano Store info@LivingPianos.com 949-244-3729

What’s the Difference Between a Waltz and a Mazurka?

When I first thought of this question, I was interested in what information was available from Google and on Youtube. I was surprised to find that there isn’t much information available on this subject! This is a really important subject for anyone who has studied Chopin Waltzes or Mazurkas. Chopin wrote a thick book of Mazurkas as well as a big book of Waltzes. These staples of the piano repertoire are stupendous pieces of music!

The Differences and Similarities of Waltzes and Mazurkas

First, there’s a great deal that Waltzes and Mazurkas have in common. Waltzes and Mazurkas were both dance forms of the 19th century. They are also both in ¾ time. So, what makes them different? In this video, I’m going to demonstrate the B-minor Waltz and the B-flat major Mazurka so you can hear them for yourself to see if you can figure out what’s different about them. Since they are both based upon dance forms in 3/4 time, you might wonder what sets them apart.

In a nutshell, the difference between Waltzes and Mazurkas is which beats are accented!

Let’s start with a Waltz. They typically have a strong first beat. The third beat is also somewhat strong, but the first beat is the strongest beat. In a Mazurka, the emphasis is on the second beat. On the accompanying video you will hear complete performances of the B-minor Waltz and the B-flat major Mazurka with all of the changes of sections. You can listen for the accented first beat in the waltz as well as the somewhat prominent third beat.

When listening to the Mazurka, notice the strong second beat. I chose these particular selections for you because they have similar tempos and are both energetic pieces. Some Waltzes have a solemn mood with slower tempos while there are Mazurkas which are highly introspective. They can be quite deep pieces of music. They’re well worth listening to and I may present these in future videos. I hope you get a sense of the fundamental differences between Waltzes and Mazurkas. This is Robert Estrin at LivingPianos.com Your Online Piano Store 949-244-3729 info@LivingPianos.com