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EXTREME Instrument Restoration: What is a Conservator?

Hi, I’m Robert Estrin, this is LivingPianos.com. The question today is about musical conservators. What is a musical conservator? Have you ever heard that term before? I hadn’t, until a few years ago when I met a musical conservator in Los Angeles. It was an enlightening experience! I didn’t understand the process until I experienced it for myself and I thought you’d be interested in this. Now, of course, there are people who restore instruments. There are piano rebuilders, technicians who take older pianos and try to make them fresh and new again. They’ll put in new pin blocks, they’ll refinish cases, they’ll put all new parts on the pianos they restore. They actually rebuild all the thousands of parts of the pianos, getting high-level performance out of old instruments. What a conservator does is quite different, even though the end result can be similar.

How is a piano conservator different from a piano rebuilder?

When a conservator is working on an old instrument, instead of just putting new parts in it, they will go to painstaking lengths to preserve as many original parts as possible. For example, if the pins are loose, usually, a rebuilder will remove the strings, remove the plate, and craft a new pinblock for the piano. The pin block is the piece of wood underneath the plate that has holes for each tuning pin. The holes are drilled to tolerances of thousandths of an inch at precise angles. So when the pins are banged in and twisted, they’ll hold. But a conservator will do something dramatically different. If they’re meticulous enough, they’ll torque each and every pin to see how much strength it takes in order to turn the pins. They will record the torque of each and every one! There are 220+ strings on a piano. Each pin is labeled to identify which pin came from which hole. And then they go through hole by hole, filling in the holes with the precise amount of wood to be able to get the proper amount of torque out of each pin rather than just putting a new pin block in.

What about the finish of the piano? How do you preserve that?

Believe it or not, they will scrape the finish off and then liquefy it and reapply that same finish! There are all sorts of techniques. If the hammers are worn out, typically you can just get a new set of matching specification hammers. But a conservator will take felt and rebuild each and every hammer one by one, putting the missing felt back on each hammer. This just gives you an idea of the absolutely tedious process a conservator goes through in restoring instruments. Why would they go through such a process? It would be far easier to replace these parts, wouldn’t it? In truth, yes, it would be much easier to simply replace the parts. Is the purpose to save money on those parts? Absolutely not, because the labor is so intensive.

The point is to preserve the past!

If nobody ever goes through the intense process I’ve described for an older piano, say a 1912 Steinway, painstakingly bringing that instrument back to its original state, at some point in the future, we won’t know what a 1912 Steinway was! In museums particularly, when you see historical keyboards, obviously you don’t want to rip out those irreplaceable parts and put in new parts because it wouldn’t even be that historical instrument anymore!

So that’s what a conservator does. It’s a completely different methodology from typical instrument rebuilding. It requires a different mindset! It has a different purpose. Yet, either one can get great results in the hands of masters! I thought this would be interesting for you to know. I know I was flabbergasted when I learned about this.

Keep the questions coming in! I give preference to my Patreon subscribers, but all of you are welcome to contact me any time! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Why Practicing the Piano is Different From Other Instruments

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how practicing the piano is different from practicing on all other instruments. I majored in both piano and French horn in conservatory. In fact, all through my childhood I was completely obsessed with both instruments. I think what I loved about the French horn and the piano was how completely different they were from each other. And in regards to practicing, it’s a completely different experience. Practicing the horn is about tone production, intonation, being able to play at any volume, with any articulation, at any register with control, and getting a beautiful sound.

Basic tone production on the piano is the easiest of just about any instrument!

On the piano, you push a key and it sounds pretty good. With flute, getting a sound out at all is really tough! Just holding a violin correctly is incredibly difficult. Other instruments have tremendous challenges. For example, double reed players like oboists and bassoonists spend a tremendous amount of time crafting reeds, either making their own reeds or refining reeds they get from others. This requires meticulous carving with knives to get just the right response out of the reeds. Vocalists have to study languages and diction. Think about the hours spent doing that, yet there is only so long you can practice singing before you will tire your voice. But there is a tremendous amount of research that goes into understanding what you’re singing in other languages, and being able to express content appropriately. You also have to stay healthy, because you are the instrument! Every instrument has challenges. The big challenge with piano is the music.

The piano is fundamentally easier to play, but the music makes up for it with its great complexity.

As a classical pianist, the vast majority of your time is spent learning scores. On French horn, there’s a tremendous amount of warmups involved in practicing. Things like long tones on wind instruments are essential. My wife is a flutist and she doesn’t miss a day of doing her long tones. What are long tones? Long tones are slow swells from very, very soft to very, very loud, back to very, very soft on every single note on the instrument. This is a great way to develop control on a wind instrument. So if you have a decrescendo, you can maintain the pitch and beauty of the sound by practicing each and every note consistently. On the piano, of course, we don’t have those issues. We don’t even have those capabilities!

With French horn, a great deal of time is spent on the instrument itself developing the physiology of the lips. There’s an old saying about French horn, “Skip a day and you know it. Skip two days, your section players know it. Skip three days, everyone knows it!” After a break from French horn, it can take weeks to get back into shape! The muscles of the lips are so delicate. You can’t just practice and practice until you’re back in shape, because you’ll blow your chops and then you can’t play anything! Your facial muscles become fatigued. So you have to really baby your lips and keep them in great shape. After a break from the piano, at first your fingers feel kind of mushy and lack strength. But just keep playing. Make sure you don’t tax yourself too much. After a day or two, you should be right back in shape. Everything should come back pretty easily.

What is so different about piano practice?

With piano you’re learning scores, and it is a meticulous process. One of the reasons I loved practicing French horn so much is that I could concentrate on pure sound, the beautiful rich tone of the instrument. The sound you get out of each note becomes a trademark of your own personality. On the piano, this just isn’t the case. Practicing the piano, if you’re doing it right, requires tremendous mental effort. You’re assimilating notes and scores and music. You must be able to think through complex arrangements that have polyphony and counterpoint and bring out different lines. Now, it’s true that other keyboard instruments have some of the same challenges. As an organist, you even have the pedals! However, you don’t have to balance notes and lines within a texture. For example, if you’re playing a four part chorale, you have four different lines. You can bring out the soprano line, the alto line, the tenor line or the bass line. You can do this simply by reaching with your fingers. The most obvious is to bring out the top line. But you can emphasize any of the four lines, each one calling attention to different lines within the score.

But balancing isn’t necessarily just bringing out one line, it’s being aware of all of the lines and controlling them.

In order to get that kind of control, you have to really know the scores. You have to study the music to develop that level of control. Are there techniques or exercises that can help with that? Somewhat. But there’s no substitute for spending a great deal of time really learning scores. You want to know the score so well that you have control of all the notes literally under your fingertips! And that’s what makes piano practice unique! I’m interested in your opinions on this subject. If you play other instruments, as well as the piano, let me know how you feel about practicing those instruments compared to practicing the piano and how it feels different to you. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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Finger Staccato Technique on the Piano

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to address a question from a viewer. The viewer asks, “Can you comment on finger staccato and how this interacts with the wrists and staying closer to the keys as speed increases? I’m referring to the technique of flexing the fingers toward a more closed fist with each staccato note. The action requires suddenly scratching the keys or sliding the finger pads on the key tops. This is described as feeling like pulling the notes from the keys. I found this very valuable, but I seek more wisdom on integrating this with other techniques of speed and lightness.” This is a very interesting question. I get a lot of people asking about this idea of rubbing the keys. Indeed, there is something referred to as finger staccato.

What is finger staccato?

I’ve talked a great deal about staccato and how it’s performed from the wrist. Indeed most of the time staccato is performed from the wrist. The wrists are fundamental in playing staccatos on the piano. But sometimes there is an articulation that you want to achieve to get space between the notes, something that’s too fast for the wrists to accomplish. For example, in the Gigue, the last movement of Bach’s French Suite in G major, his fifth French Suite, you can play legato, but playing with a finger staccato creates a harpsichord like tonality to the punctuation of each note. It almost sounds faster, even playing at the same tempo, because of the delineation of each note.

Is this being done by sliding on the keys?

I don’t recommend sliding on the keys for a variety of reasons. First of all, key tops on different pianos are dramatically different from one another. On most pianos today you have composite plastic key tops. Some pianos have ivory. Ivory is a porous material that has more friction than plastic key tops. Also consider the dryness or the moisture on your fingertips. Dry fingers can really slide like crazy on ivory key tops. Sweaty fingers can slide a lot on plastic key tops. But the point is that you have different levels of friction on different key tops. So trying to rely upon rubbing the keys isn’t a reliable technique.

How do you achieve finger staccato?

You achieve finger staccato by staying very close to the keys and getting used to playing with spaces between the notes. You can practice this in your scales. Try practicing at a slower tempo, doing progressive metronome speeds, and keeping it very light. Avoid using the wrists! The wrists can’t go fast enough.

Practicing with staccato fingers is a phenomenal way of training your hand to play fast passagework because each note is articulated.

One of the tricks to getting clean finger work, whether it’s scales, arpeggios, or other types of passagework, is focusing on the release of notes. You want to have note lengths that are uniform throughout. The only way to achieve that is by playing with spaces between the notes. Playing all the notes very short from the fingers makes the maximum space between notes. Which later you can control, so you can have different lengths of spaces between notes. We think of practicing scales as a one-size-fits-all, but why not practice them detached or semi-detached? Ultimately, what makes music sound even is not just the attack of the notes, but the release of the notes as well. You want to have even durations of notes and even spaces between the notes, which can only be achieved by the fingers. By practicing with staccato fingers, it’s an extreme difference from legato playing. Then you can try to fill in all the touches between notes from staccato fingers to legato, so you can get any kind of phrasing you’re after in your playing!

That was a very interesting question! Maybe I didn’t give the answer you expected. I hope this is interesting for you and valuable for your piano playing, as well as your practice. Practicing a piece that has a lot of finger work with all staccato fingers is a heck of a workout for you! And it’s a great way to strengthen your piano playing. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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How Long Should it Take to Learn a Piece of Music?

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how long it should take you to learn a piece of music. There are a lot of people who feel really committed to the piano. And when they are passionate about learning a piece, they don’t care if it takes a year to learn it. They just really want to learn that piece! This is not necessarily the best approach. Let me explain. In the amount of time that it would take in that year to learn one piece of music, imagine instead you focus on pieces that you can master in a couple of weeks. Then you build up a repertoire of pieces you can play on a high level.

Find music on your level.

Focus on pieces you can learn relatively quickly, each one a little bit more difficult than the last. You can expand not only the difficulty, but the style, the range, the mood, the period, all different aspects of music that you can assimilate into your technique. After a year, that piece that maybe would have taken you a year might only take you three or four weeks! The secret is finding music on your level. Now there are certainly exceptions to what I’ve just said. For example, maybe you’re a pretty serious pianist and you’ve just always wanted to study a monumental work like the Brahms Handel Variations, the Beethoven Hammerklavier Sonata, or the Liszt B Minor Sonata. Are you going to learn one of those pieces in two or three weeks? No, not likely. It could take you months to really learn and maybe up to a year to get on a performance level. A major concerto takes time to master as well. But even if you are learning such a work, I would strongly recommend that in parallel you also work on other formative pieces along the way. So at the end of the year you don’t have just that one piece, but maybe you have a dozen or more pieces that you’ve learned over the course of the year, including that one long-term piece that you’ve always wanted to learn.

Always be assimilating new music into your repertoire.

Learn music of different styles, different techniques, and you will grow as a musician far faster and greater than just focusing on one or two pieces that you really want to learn. You will actually be able to learn those pieces far sooner and get them at a higher level if you have progressive repertoire that you’re always mastering on the piano. I hope this is helpful for you and that you don’t find this discouraging. This is actually the fastest way you’re going to be able to learn that piece you’ve always wanted to learn! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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How Did The Great Composers Create So Much Music?

Welcome to LivingPianos.com, I’m Robert Estrin. The subject today is about how the great composers came up with so much music. It just seems impossible! When you think about Brahms, Beethoven, Bach, Mozart, and so many other composers, it almost seems like magic. It’s as if something was handed down to them from the heavens. It doesn’t seem like anyone could write so much fantastic music.

The truth is that we only have a tiny glimpse of their music.

Most of the great composers made music up spontaneously, constantly. They were known to be tremendous improvisers. But because audio recording was not developed until centuries later, we only have the written scores of these great composers to go by. But we get glimpses as to what the great composers actually improvised, and some of their fantasies. For example, you think about Bach and you think about very regular, beautifully crafted music that obviously was written out. But what about music that he just made up? Are there any glimpses into that? Yes! For example, Bach’s Chromatic Fantasy and Fugue. The way that starts out is very rhapsodic and spontaneous in nature. It’s an amazing work that goes places you would never expect. It gives you a little glimpse of what these composers were able to create on the fly.

Improvisation can sow the seeds for compositions.

This isn’t just true of the early composers. Think about when you listen to a Chopin Nocturne. Just imagine the melodies that Chopin and Liszt made up. Sometimes they would have parlor gatherings, and they would go back and forth. As did other great composers of the 19th century, such as Anton Rubinstein. It was one of the things that they did, where they played for one another spontaneously. Listen to the opening phrase of the B-flat minor Nocturne of Chopin. The second cadenza is something that no-one would think of writing. He must have just played this and figured out a way to write it down. It’s very rhapsodic, off the cuff phrasing. It’s not metered. And it gives you just a little hint as to what these composers did on a daily basis, by themselves, for their family, for their friends, and at all kinds of get-togethers.

Have fun with music!

I believe all the great composers have joy and passion in their music! It wasn’t just a tedious task. It wasn’t all lonely nights of crafting great compositions, although that’s a part of music. A part of practicing and learning music is spending the time to learn scores. But having fun with it and not losing the love of music is what it’s all about! I believe those are the seeds of the great composers. So enjoy your music! Explore things and see what you can come up with! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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What Are The BEST Trill Fingers?

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s subject is about which fingers work best for playing trills on the piano. Sometimes people see trills and they think they should just play as many notes as possible. I’ve talked before about how trills must be measured. You have to know exactly how many notes you’re playing in a trill. Even though when you listen to a trill it sounds like a free form explosion of notes going back and forth, trills have to be measured so you know exactly how many notes you play. Otherwise, ending a trill is impossible because you’re leaving it to chance whether you end up on the right note or not!

You don’t always get to choose your trill fingers.

There are some instances, for example in Bach Fugues, where you must trill with four and five. These are the worst fingers to trill with! Try to avoid four and five as trill fingers. A lot of people think three and two are the best trill fingers. And indeed, three and two are pretty strong trill fingers. But the best trill fingers are actually three and one! Three and one are the strongest fingers. Your thumb is the strongest finger and the third finger is probably your second strongest finger. Three and one are terrific for trills. Four and two could work nicely as well. There are a lot of different possibilities. Three and one are great when you have that possibility. Three and two are good too. It depends where you’re coming from and where you’re going in your score to determine what the right fingering is. Not only that but if you have other lines within the same hand, sometimes as I said, in contrapuntal writing in fugues particularly, you might not have much of a choice as to which fingers to use for trills.

I’m going to give you one final trill fingering tip.

I’m going to show you something that’s really interesting and it ties right in with the idea of measuring your trills. If you measure your trills, you might want to try alternating three, one, three, two. By using those fingers, you actually reduce the load of the trill to three fingers so none of the fingers have to work quite as hard. Not only that but it helps you to measure your trills. Even if you don’t end up using three, one, three, two as trill fingerings, it will help you to make sure that you’re playing the right number of notes in your trills, which is the most important thing!

You never want to think of trills as something abstract from music.

Just imagine that every single note is written out and play it as it’s written in the score. If you’re figuring out your own trills, find something you can play reliably. Don’t worry about trying to make the fastest trill. What’s important is that it’s musical, repeatable, and dependable. If you can use three and one, or at least three and two, you’re going to be way ahead of the game. I would like all of you to try three, one, three, two, as well and let me know how it works for you! I’m Robert Estrin here at LivingPianos.com, Your Online Piano Resource.

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