Tag Archives: piano

The Romance of Ivory: Are Ivory Piano Keys Better?

There was a time when all pianos had ivory key tops.

By the middle of the 20th century, the use of plastic key tops began to replace ivory keys in a big way. Laws protecting elephants made ivory keys extremely rare in pianos built after the early 1970’s.

Ivory Piano Keys

No pianos have ivory keys.

The keys of all pianos are made out of wood. It is only the thin top of the white keys which are made of ivory or plastic. The black keys are made of ebony. However, most Asian production pianos have plastic black keys. In this case, the entire key is made out of plastic and is hollow on the inside.

Growing up, my father had 2 grand pianos in his studio, an old Steinway with ivories, and a newer Baldwin with plastic key tops. I found the ivory to be slippery and the plastic offered a better grip on the keys. However, when I would perform in student recitals, it was quite the reverse. With a bit of nerves, the sweat in my hands made the plastic key tops slippery and the grip on the ivory much better.

Ivory key tops are porous.

So cleaning is more difficult than cleaning plastic key tops which can be cleaned with a high concentration rubbing alcohol; 90% or higher works best. You can use a soft cloth, paper towel, or cotton swabs made damp with the alcohol. Rub all the keys, black and white and you will be amazed at how much dirt comes off the keys. The high concentration of alcohol assures that the moisture will not compromise the integrity of the wooden keys. Ivory keys present a greater challenge. While cleaning with alcohol as above will work, in time it can dry out the ivory and cause warping. So it is best to use a slightly damp cloth with only water and use alcohol only when needed to remove persistent stains.

real ivory piano keys

Ivory keys also will yellow in time.

You can help them keep white by not closing the fall board. While it is important to close the lid of the piano when not in use to avoid corrosion of the strings, the fall board only protects dust from settling on the keys which can be wiped off easily. If ivory key tops get too dirty or yellow, they can be polished and bleached. If a few are chipped or missing, some piano technicians have a large stock of replacements. This is no easy task since matching the exact size, color and texture of ivories is very challenging. Replacing key tops altogether with modern composite plastic key tops is not very expensive, 2 or 3 hundred dollars. Usually when doing this it is a good time to replace key bushings and front rail bushings which wear out. That can add another couple of hundred dollars.

So the question is…

which is better, ivory or plastic key tops?

I have run into many people who have a strong preference for one or the other. Many people prefer the mystique of real ivories on a beautifully restored vintage piano. Other people are horrified by the sacrifice of the animals to produce the ivory. Overall I would suggest if you have a piano with usable ivories, keep them in good shape as long as you can since they are nearly irreplaceable. A set of ivories can be procured but a set costs thousands of dollars. Keep in mind however that if you went out and bought a brand new Steinway grand piano, it would have plastic key tops. Functionally they are very close. Perhaps the texture of a good set of ivories gives a better grip particularly with sweaty hands. Otherwise it is not one of the more important considerations for a piano’s quality.

3 Reasons You Should Use a Metronome When You Practice Music

The metronome is much maligned by many musicians for its incessant ticking which can be like a form of Chinese water torture! Many teachers are insistent upon using the metronome and students have questioned whether or not they need this ticking box.

The metronome really is one of the two most important tools at your disposal (the other being an audio recorder) and you should be practicing with it regularly – whatever your skill level. Today we are going to discuss three reasons why the metronome is so important as well as some great applications on how to use it.

The first reason why you need the metronome is that nobody has a perfect clock in their brain. When you start to learn a piece of music and you encounter tough sections, you will naturally slow down a bit to compensate for the difficulty. You might think that once you work them out and get things up to speed, there should be no problem. But you may overcompensate and actually play these sections even faster! The only way to be sure is to play with the metronome.

Don’t make the mistake my mother used to make by putting the metronome too fast and trying to keep up with it. She would drive herself crazy with frustration trying to match an impossibly fast speed of the metronome. Find a speed you are comfortable with and work your way up to an appropriate tempo.

The second reason you want to use a metronome is that it provides an essential practice tool for difficult sections of music. Start by playing at a slow speed accurately with comfort. Then, incrementally increase the speed notch by notch gaining confidence at each new tempo until you get the passage mastered up to tempo. This is an indispensable tool for developing a refined technique on your instrument.

The key is to use this technique by zeroing in on specific sections of your music – not the whole piece. It will not take as much time as you think and you will master tough sections of your music much more quickly.

The third reason you want to use a metronome is because it will help you improve as a musician. The pulse is one of the most important aspects of music and developing a consistent beat will make you a better musician. This aids in playing with other musicians with a tight ensemble.

These are three great reasons to use the metronome and I’m sure many of you have more suggestions as well. Please leave us some comments or email me directly Robert@LivingPianos.com

What can you do with a Piano that Can’t be Tuned?

This is a very common question. Many times when people want to sell a piano that has been in the family for a long time, they don’t know where to start. When we receive calls from from people in these types of situations, we always ask them the last time the piano was tuned.

The reason we ask this is because pianos need very regular maintenance. The longer they go without tuning or other work, the more problems they might incur. It’s certainly possible that if a piano sits in the right climate for a long period of time and remains untouched it could need very little work, particularly if has been tuned on a regular basis. For a piano that has been in a home where the temperature and humidity have affected it over the years and the owner neglected to tune it on a regular basis, it can sometimes put undue stress on the instrument trying to get it stable again.

Sometimes pianos can’t be tuned. No matter how many times you try and tune them they will continue to go out of tune or simply can’t be tuned at all. Many times this means the piano has to be rebuilt because there is most likely an issue with the pin block which can’t hold the tuning pins tightly. The pinblock is a multi-laminate piece of hardwood custom shaped to the plate of each piano that sits right below the plate.

In order to replace the pinblock you have to remove the strings and pins and then use a crane to lift the plate out of the piano. Then a custom pinblock must be made for the specific piano – which is a very skilled job. This involves substantial expense and not something you will want to embark upon with just any piano. Rebuilding costs thousands of dollars and is only worthwhile on worthy instruments.

So what do you do with a piano that has loose tuning pins and isn’t worth the rebuilding costs? Luckily there are a few things you can try to see if you can salvage some more life out of the piano. The simplest solution is to tap in the pins a bit further into the pinblock to get more friction. There must be some room between the coils of the strings and the pinblock to allow for tapping. This can sometimes alleviate tuning problems. Other times it can only be a temporary fix depending upon the integrity of the pinblock. This is something that can only be done by an experienced piano technician or irreparable damage can be inflicted upon the piano.

If that doesn’t work you can have the piano restrung with fatter tuning pins. Every time you restring a piano you have to put a little bit larger tuning pins into the pinblock in order to get them to stay securely in place. If the pinblock is in good shape, this can solve the problem in some instances. This is a bit more expensive than tapping the pins down but less costly than rebuilding. If the pinblock has cracks, using larger pins will just enlarge the cracks. Also, there is a limit to how large a tuning pin can be used in a piano.
As a last resort I have heard of people trying super glue in the pins! This isn’t to lock them in place, but to add friction to the tuning pins. I would not recommend this unless you have absolutely nothing to lose because the piano is not worth rebuilding.

Something to keep in mind is that if you have a piano in a humid environment that has pins that are slightly loose, moving the piano to a desert climate can make the pins looser and you may have serious tuning problems.

So depending on your situation there are a number of options for a piano that can’t be tuned. If you have a piano that is valuable like a Steinway, Mason & Hamlin, Bechstein or other high-end piano, then it might be worth rebuilding if other structures of the piano are sound. With low end pianos that can’t hold tuning, you may be better off seeking out another piano.

I hope this has been helpful for you. Thanks again for joining me Robert@LivingPianos.com (949) 244-3729

How to Accompany Other Musicians on the Piano

You can really understand different facets of ensemble playing by watching the accompanying video.

Playing piano with other musicians can sometimes be a challenge. There is plenty of music written for multiple instruments and the piano is an extremely popular accompanying instrument. There are a couple of challenges that every pianist will face when playing with other musicians: playing at the right level and playing with synchronization. I’m going to cover these topics in this article for you.

The first thing I want to address is cueing. You might hear some musicians perform a countdown and while this works in some musical styles, it is not standard in classical fare. You’ve probably seen a conductor move his or her arms cueing a large orchestra and everyone comes in precisely together! How is this possible? The motion he/she performs is precise – the upstroke will indicate the speed and the downstroke will let you know when to start. If the conductor raises his hands quickly it will indicate a faster tempo. My wife Florence Estrin provides an excellent example of how cueing works in the above video.

The secret to giving a correct cue is to count in your head. You must know the speed you’re going to play before your first note and you must share this visually with your fellow musicians.

There are a number of things you must do when playing piano with other musicians to ensure that everything sounds cohesive. One of the biggest challenges is not playing too loud, particularly with softer instruments like flute or viola. For example, in the video above I play a forte selection with Florence on the flute. If I were to play a true forte as I would as a soloist, I would overwhelm the sound of the flute. A great way to approach this is with an accented approach – have a bigger sound on the first notes and letting the flute line sing out above as the notes sustain.

On the other side, I’ve seen a lot of pianist play too timidly with other instruments – like a true accompanist instead of a collaborator. After all, if the music is written for two instruments they will both be intended to share the spotlight. You must learn to play with them, not against them. You will make the sounds fit with each other and practice together until it sounds like you are truly performing as one.

Another thing to be aware of is timing. Many times people will instinctively follow the soloist and they will find themselves getting lost. You must anticipate the timing of the soloist and play with them, not follow them or you will fall behind.

Hopefully, this provides some useful information for you. When you watch the video you will see examples of cueing as well as balancing with a soloist.

Thanks again for joining me, Robert Estrin Robert@LivingPianos.com (949) 244-3729

Piano Questions: Beethoven’s Moonlight Sonata 1st Movement – Keeping the Left Pedal Down

Your video on pedal use with Moonlight Sonata was very helpful. I noticed you used the left pedal (Una Corda?) as well. And, I think you kept it down continually as you played. If so, why?
Thank you for the huge amount of time you’ve devoted to helping us all learn to play better,
– Leslie

You are very perceptive! Since the entire first movement of the Moonlight Sonata is quiet, the una corda pedal is appropriate for this movement. However, the una corda pedal has dramatically different degrees of tonal change on various pianos. So on some instruments, it may be necessary to use the una corda only in some sections.

What Makes a Great Musical Performance?

This is a very important subject; not just for music but for life itself.

When Thomas Edison was trying to create the light bulb he went through many attempts before he actually got it right. In fact, legend has it that one of his experiments actually ended up in the complete destruction of his lab – it literally blew up!

The story goes that Edison’s assistant asked him if he felt defeated; Edison responded by saying something to the effect of: “now I know yet another way NOT to make the light bulb.”

By being persistent and not letting failure get into the way, Edison was able to achieve more than anyone could have imagined. He used failure simply as a stepping stone to success; he used those negative experiences as positive learning experiences.

Edison is not the only historical figure to face failure. In fact, many of the world’s most successful people have faced enormous challenges and failure until they finally hit their mark.

The same theory rings very true for musical performances. For example, when I go to student recitals and I hear someone play through a piece without any problems I can’t help but be impressed. But what impresses me, even more, is how they handle mistakes.

Inevitably something will go terribly wrong during a performance. Whether it’s a wrong note, a memory slip, no matter the cause, mistakes do (and will) happen. Watching these students recover from something like this and not let it affect them is very impressive. One small mistake will not ruin a performance and it’s very important to remember that.

If you miss a note in a performance and you keep going, chances are nobody will ever know. However, if you make a mistake and then go back and try to correct it; everyone will know you messed up (no matter how schooled they are in music).

Every great performer won’t worry about every little mistake. Sure they might miss a note, start to rush, or play something completely wrong; none of it matters. What matters most is the performance itself and the energy and passion that comes from the performer. It’s never about perfection; it’s about emotion.

Remember that your audience is there to enjoy themselves. Learn from your mistakes but don’t let them defeat you.