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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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My Personal Pianos: Chopin – Nocturne in E Flat Major Op. 9 No. 2

Welcome to LivingPianos.com. I’m Robert Estrin with a personal story about every piano I’ve lived with! I started selling pianos out of my home decades ago. So, I’m not going to include every single piano I have literally lived with, but every single one that was my practice piano. There are a lot of them, so let’s get started!

When I was born, there was a big old Sohmer upright in my bedroom.

Before I studied piano, my older sister studied with my father. He had a studio upstairs in our home. This was in a Levitt house. This is the house where my father taught Billy Joel among many other people. We moved when I was about five years old. That old Sohmer was my practice piano when we moved. It was a good piano, but my father had in his studio in our home a Baldwin L 6′ 3″ grand, as well as a Steinway model S, a beautiful little baby grand his father had given to him in the 1930s. So, I got to play those pianos as well.

Eventually, because my sister and I both studied the piano with my father and had to practice. So, my father bought a brand new Baldwin Hamilton studio upright.

I was about 12 years old. That piano was upstairs, and the Sohmer upright was downstairs. Both my sister and I taught piano also. We would teach in the playroom where that big old Sohmer was. But upstairs, we had the nicer Hamilton to play and practice on.

My father taught at Hofstra University, but he also did a great deal of teaching right in our home. He taught countless hours, but always had an hour long dinner break from 6:00 to 7:00. I would finish dinner by 6:30 and dash downstairs to play the pianos in his studio.

A few years later, my father stepped it up and bought a brand new 7 foot Baldwin SF-10 semi-concert grand. That piano was such a joy to play! At that point, the Steinway baby grand went upstairs, and my parents sold the Sohmer upright. So, then my sister and I had the beautiful Steinway baby grand to practice on, and in the playroom was the Baldwin Hamilton. I was in heaven, especially those 30 minutes after dinner playing that 7′ Baldwin. I absolutely loved it! But practicing on the Steinway baby grand was not so bad either!

When I moved to New York City to attend the Manhattan School of Music, my father was nice enough to let me take the Steinway baby grand.

I had that piano in my apartment to practice on. When I moved to Southern Illinois University to study with Ruth Slenczynska, he moved that piano into my apartment there. Then, when I transferred to Indiana University, Bloomington, I took the piano with me. Eventually, I lived with a family in a beautiful house in the country. It was wonderful living with nice people in a gorgeous house, and they had a nice baby grand. It wasn’t as good as the Steinway, but there was no place to put the Steinway. So, the Steinway ended up going to my sister in Ohio, and I practiced on their Schumann baby grand. It was rebuilt, and nothing special. But I had a serviceable instrument to practice on.

Eventually, I moved out of that house and I didn’t have a piano! I had just graduated, so I didn’t have much money. I found a big old Gulbransen upright, not unlike the old Sohmer upright from years ago. It was a nice piano with a good sound. Although, it was only an upright piano. But it served pretty well. Of course, I needed a grand piano for repetition, trills, not to mention the una corda pedal.

After we got married, my wife and I took all the money that we got as gifts and put that toward a brand new Baldwin Model M 5′ 2″ baby grand.

It was a struggle to make those payments. At that time, the interest rate was 18%! Can you believe that? It took five years to pay it off. In the meantime, I was building up my teaching. When people would call me for lessons, the first question I would ask is, “Do you have a piano?” And most people didn’t have pianos! This was before you could buy a serviceable digital piano for a few hundred bucks. They didn’t exist yet! So, I bought an old upright and had my tuner fix it up. If somebody called me for lessons, I could offer the piano for sale so I could accept the student. Then I was brave and I bought two uprights!

Pretty soon we had 27 pianos in our home!

We didn’t have a huge home, but it was built on a hill with a walkout basement. There was also a big picture window where I put my recording studio. We had a lot of pianos and started getting serious with selling pianos. There was such a need for it, because most people didn’t grow up with pianos and didn’t know how to buy a used piano. So, I made it my business to help people to get pianos. Of course, it also helped my teaching business and the recording studio. Everything was working well.

At a certain point, I got a used Baldwin L.

This Baldwin L was a nice piano. So,I decided to put up my Baldwin M for sale along with the L. Even though the Baldwin M was newer and more refined, the L was longer and had a bigger bass. Instead of a 5′ 2″ like my Baldwin M, it was 6′ 3″. So, I put them both up for sale thinking, “Whichever one sells, I’ll keep the other one.” Famous last words! They both sold almost immediately!

And there I was without a piano!

Can you believe this? At that point I had to find a new piano. I found a Kawai baby grand that became my practice instrument. It was a good little piano. Of course, I still wanted something bigger. That’s when I came across a young woman who was helping her father (a retired piano technician) sell his 6′ 2″ Steinway XR grand. So, that became my piano. I also bought a state-of-the-art Kurzweil K250 for my recording studio . This was a full-fledged synthesizer workstation that not only had all the instruments of the orchestra, it also had a beautiful piano sound with 88 real wooden keys. That was in the control room of my studio.

I outfitted my Steinway grand with MIDI. I became a dealer of this technology. I started helping people around the country who wanted to interface their acoustic pianos with computers. This was way back in the ’80s! I could play the Steinway grand and hear the sounds of the Kurzweil. So I could, for example, layer an orchestra with the piano performance. It was great for the recording studio.

Living in the small town of Bloomington, Indiana was great for a lot of reasons.

You could get on your bike and in 10 minutes, you’re in the country. It was idyllic. But at the same time, a town of 50,000 is a difficult place to make a living as a musician. We had a music store and recording studio downtown called, Music House. My wife was traveling three hours away to play with various orchestras. And even though I had a full-line music store, a recording studio, a lesson program, and a piano rebuilding shop, it was still tough to make ends meet. So, we moved to Los Angeles. I sold my Steinway, but I had a lot of new pianos because we had inventory from the store. The piano I brought to California was a brand new 6′ 1″ Wurlitzer. But soon after moving to California, I found yet another 6′ 3″ Baldwin L grand piano in the used market. I got a great deal on it. So, I sold the Wurlitzer to a church that was looking for a piano. They were very happy with it, and I was very happy with my Baldwin L. I had my technician dial it in, and that was it. I was satisfied with my piano.

My piano tuner, who was a master technician, had been a concert technician for years. He owned a 7 foot Mason & Hamlin BB. This piano was his personal piano, and he had babied it. He put new hammers and dialed it in to perfection. It was a Pre-Aeolian Mason & Hamlin from 1929. He wanted to sell it, and I agreed to help him. So, he put it in my studio. But as soon as I played it, I wanted it!

As great as the 6′ 3″ Baldwin L was, to go to that 7′ range, was a whole new ball game.

I asked my technician to give me a chance to see if I could sell my Baldwin so I could afford to buy his Mason & Hamlin. He gave me that chance, and I managed to do it! Then I had the ultimate piano. It was the nicest piano I’d ever played! I loved it! I thought it would be my piano forever.

I had another Baldwin L that I had for sale. It was in my studio along with my other instruments. A concert pianist from San Diego came to look at it. He had friends who were looking for a piano, and they asked him to check out the Baldwin L for them. So, he came in and he played that piano. Then he sat down at my Mason & Hamlin BB. I let him know that that piano wasn’t for sale. But he played it for a long time before eventually leaving. A few days later he came back. He let me know that his friends were interested in buying the Baldwin, but he had to have the Mason & Hamlin. He made me a generous offer I couldn’t refuse. I knew with the money from the sale of the two grands I could replace that Mason & Hamlin. But the only way to go was bigger! So, I went on a hunt for the ultimate concert grand!

I ended up finding an absolutely out of this world 9′ Baldwin SD-10 concert grand.

This piano had sustain, power, clarity, warmth, everything I could possibly hope for. My piano technician had been a master technician in the concert market in Dallas for years. He tuned and serviced countless concert grands for performances. He said that my piano was among the best two or three pianos he had ever come across in his life. I was set! We moved into a big live-work loft with 19-foot ceilings and started a concert series, Art District Concerts, right in our own home. It was awesome! We could fit 80 people comfortably there. And that piano sounded glorious in that room.

Eventually, we moved out of the loft and our new living room was just normal size. Concert grand pianos are meant for large halls. It was just too loud! It had so much volume that I would practice with this piano completely closed with a felt string cover. I decided to sell the piano because it was just too big for where I was living. The good news was, I had several people interested, including two new concert halls that were looking for pianos, and they both wanted this piano. Of course with concert halls there are committees who make these decisions. And as it went through the boards, we were just waiting to see which one was going to get that spectacular piano.

Both parties had agreed to have me play the dedication concert for my piano.

As luck would have it, one Sunday afternoon, an elderly couple came in from the desert. The man sat down and played one piece on my SD-10 concert grand and wrote me a check for my asking price. That was it, just one piece.

The one piece he played was Chopstix!

So, that’s who ended up with my concert grand, the greatest piano of all time. I’m sure he enjoys it.

Right around the same time, I inherited my father’s 7′ Baldwin SF-10, that magnificent piano that I loved so much as a kid.

I had the piano beautifully restored, and that is my personal piano to this day. This SF-10 is a glorious instrument, one of the finest pianos I’ve ever played. In this whole lineage of pianos, I think I ended up with the right one. I remember as a teenager, when this piano came to our house, how excited we all were and how beautiful the tone was. And it’s still producing such gorgeous music after all these years. You can hear a performance of the Chopin E-flat Nocturne, Opus 9 no. 2 I played on this piano.

I hope you’ve enjoyed this personal story about all my pianos, and thanks so much for joining me. Again, I’m Robert Estrin, here at LivingPianos.com, Your Online Piano Resource. We’ll see you next time.

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Why Crying is Essential for Your Musicianship

Hi, I’m Robert Estrin. This is LivingPianos.com and today’s subject is, “Why Crying is Essential for Your Musicianship.” You might think I’ve gone off the deep end with this subject. Crying and music? What does crying have to do with music? A lot.

What is music about?

There are a lot of different styles of music. There’s dance music, there’s electronic music, there’s Gregorian chant. There’s a wide range of music, but ultimately I believe music is primarily a way of expressing emotions – emotions that are impossible to express any other way. Let’s say you have had some really tragic experiences in your life. Everyone experiences tragedy in this world. Nobody is sheltered. I know from the outside it looks like some people have that glorious lives of perfection. If you look on social media, everybody’s having a great time doing the greatest things. But the reality is that it’s just a front. Not just on social media, but even in person. Everybody is guarded, keeping their emotions at bay, not revealing too much for fear of getting caught by somebody who has spurious intentions.

Why do you need to cry?

Why can’t you just go through your life and just ignore those tragedies and the pain? Well, if you’re trying to express emotions honestly in your music, but you haven’t even reckoned the emotions you’re feeling, it’s all but impossible to be genuine in your music. You need to feel things in your life, not just the joyful things, but the tragic things as well. In fact, I’d go so far as to say that if you don’t experience pain in your life by crying, at some point it’s going to come out inappropriately and it will also affect the other side.

How can you feel joy if you don’t feel sadness?

You have to feel. So you must work through your emotions so you can honestly express beautiful music, sad music, happy music. This is a lesson for life as well as for music. And if you have repressed emotions, it’s going to be all but impossible to really have the poetry, and the vision, and the experience that you want to share with others.

I encourage all of you to be honest with yourself and others about your pain.

It’s important to feel your emotions and work through them. It could be what you’ve been looking for to be really expressive in your music. I’d love to hear from any of you out there who’ve had this experience and share it in the comments below.

Thanks so much for joining me. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time!

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Where to Place a Piano in Your Home

This is Robert Estrin. Welcome to livingpianos.com. Today’s topic is: “Where to Place a Piano in Your Home“. Pianos come in all different lengths from around five feet all the way to over nine feet. Most people don’t have a nine foot concert grand in their home! A piano that size requires a large room that can handle not just the size of the piano, but the sound as well. The bigger the piano, the more volume they create.

How to place upright pianos.

I have a video about WHERE TO PUT AN UPRIGHT PIANO IN A ROOM. Upright pianos are all about five feet wide, because of the 88 keys, and they come a couple feet out from the wall. You also want to allow extra space for when the bench is pulled out. Here’s the key though: if you leave some space between the back of the piano and the wall, you’ll get a much richer sound because most of the sound of an upright comes from the back. If the piano is right against the wall, it soaks up the sound. Now on the flip side, if an upright piano is too loud, put it up against the wall or better yet against some curtains and it will be much quieter.

Placing baby grand and grand pianos.

A lot of people think upright pianos are easier to place in a home, but it’s actually easier to place a grand piano than an upright! Ideally, you want to place your grand piano so it opens into the room. It’s nice to have the piano situated in this respect so you can see the keys and the inside of the piano. However, even though this is the typical way that pianos are placed on stage for concerts, in your home it isn’t necessary. It doesn’t matter how you position your piano, you’re going to hear it fine throughout your home. They can tuck into a corner and look quite lovely and sound fine. Or maybe you prefer to sit looking into the room when you’re playing the piano. All of these ways work fine.

Place your piano where you can enjoy it!

If you have an open floor plan, the volume of the piano could be an issue for people in other parts of the house. You want to think about that. You never want to have your piano in a place where you don’t want people to play it because it’s disturbing to you or your neighbors! If a grand piano is too loud, you can put a rug underneath to soak up the sound. With a grand piano, just like the back of an upright, half the sound comes from underneath, or almost all the sound when the lid is closed.

Do what works best for you.

There are many different ways you can place your piano. Baby grands and grands are actually easier to place than upright pianos. They look good any way, and you are going to hear it in your home whether the lid is facing one way or the other. Ultimately where you place a piano in your home comes down to personal preference. So give some thought to where the piano will look and sound best, and will fit in with your lifestyle.

Any of you who have questions about placing a piano in your home, you’re welcome to take pictures and send them to us at info@LivingPianos.com, and we’ll be happy to give you advice about how to place your piano. Thanks for joining us here at livingpianos.com, Your Online Piano Store

How to Get Good Tone on the Piano

This is Robert Estrin from LivingPianos.com, Your Online Piano Store with a great subject today: The fundamental importance of arm weight for producing a good tone on the piano. You might wonder what I’m talking about. Before I get into that, let’s discuss the piano as a unique musical instrument.

What was the first musical instrument ever?

The first musical instrument was obviously the human voice! Every other instrument imitates the human voice to one extent or another. Wind instruments, for example, have a clear connection with breath, flow of the phrase, natural progression from note to note, and the smoothness of the line. This is intrinsic not just to vocal performance, but also all wind instruments. String instruments have the bow to create the sense of line like the breath in singing.

What is the analog for the breath on the piano?

You might think, since phrases naturally ebb and flow like ocean waves, that you can simply calculate playing each note louder and louder towards the middle of the phrase, then gradually softer and softer towards the end of the phrase. However, if you try that, you’ll end up with a calculated performance. No surprise there! The secret of creating a smooth line at the piano is, gradually increasing and decreasing arm weight by transferring smoothly from note to note, growing toward the middle of the phrase, and diminishing toward the end of the phrase.

You can try it for yourself!

Play a phrase once while calculating each note getting progressively louder, then progressively softer. Then try playing the same phrase but using the continuous arm weight that ebbs and flows. You’ll find that no matter how much you try to craft the line based upon your musical inclinations, the first version will sound calculated. That is, after all, exactly what you are doing! When you play the phrase again, remember to use the concept of the breath by utilizing the natural weight of your arm. Instead of pushing down more, just support the weight of your arm with your fingers. Lean into it the keys even after initially playing them. Lean more toward the middle of the phrase and less toward the end. You’ll find that this creates a completely different sound. There is something engaging about imposing upon a phrase the idea of the breath and letting the notes flow naturally with that overarching concept. It creates a singing line that belies the reality of the percussive nature of the piano.

I’m interested in your impressions of how this works for you. If any of you have different ways of achieving the same sound, I’d love to hear from you! Once again, this is Robert Estrin here at LivingPianos.com, Your Online Piano Store.

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Who Was Billy Joel’s Piano Teacher?

Hi, I’m Robert Estrin at LivingPianos.com. The question today is, Who Was Billy Joel’s Piano Teacher?

Billy Joel is an institution of American popular music, one of the great songwriters and one of the great popular piano players of the whole century! You might wonder where he learned how to play the piano. If you look on Wikipedia and other online resources, you’re going to discover a very interesting fact:

My father, Morton Estrin, is listed as Billy Joel’s piano teacher!

This is true. Billy Joel went to HIcksville HIgh School the same high school I went to 30 miles from New York City. However, Billy Joel is a bit older than me. So, our time in school never overlapped. In fact, even though he studied piano in the house where I lived, I never ran into him. Of course, it wouldn’t have meant anything since he wasn’t famous as a child!

Billy Joel’s Early Piano Studies

People would often ask my father, “What was Billy Joel like as a student?” And he would reply, “Well, he was a kid!” When you think about it, he was teaching Billy Joel student-level music such as Clementi sonatinas. His mother, like so many mothers back then made him study the piano. At the time, it probably wasn’t the most pivotal thing in Billy Joel’s life. It is very interesting that in more recent decades,

Billy Joel has been composing some substantial classical music.

I don’t know how much of his early musical training rubbed off or if his passion for classical composing is something that developed much later in his life. Through the years both Billy Joel and my father used each other in their bios for obvious reasons. However, I’m not sure how substantial the musical relationship was way back then, because Billy was only a child. Naturally, Billy went in a very different direction with his music.

My father was completely immersed in classical music.

That was his entire world. And of course, Billy Joel went on to become one of the great singer-songwriters of American popular music.

Visiting the House Where Billy Joel had his Piano Lessons.

So, that’s the long and short of it. I thought you’d be interested in that fact because people always ask me about it. It’s an interesting story. I have one small anecdotes you may find interesting. One of the times my sister and I were visiting my father in New York, we decided to go just a couple of miles away to the house in Hicksville where we grew up before we moved to another house in Hicksville. So, we went to the old Levitt house in the Levittown section of Hicksville, and there was the house where we were born! We’re sitting in front of it in the car looking at it thinking, “Do we dare knock on the door?” I don’t know if you’ve ever done anything like that. So, we decided to do it! We knocked on the door and introduced ourselves telling them, “We used to live in this house.” And before we could say one word, the woman living there said,

“Did you know that Billy Joel had his piano lessons right upstairs here?”

I said, “Yes, yes. We know that.” She was very proud of that fact. And so that’s the only anecdote I have to share about this. I wish I had more stories for you, but it is a fact that Billy Joel studied piano with my father, Morton Estrin.

Hope you’ve enjoyed this. Again, I am Robert Estrin here at LivingPianos.com, Your Online Piano Store. See you next time.

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