Piano Lessons- Music Theory Lessons

Welcome to LivingPianos.com, I’m Robert Estrin. Today’s topic is about the power of musical snippets in your practice. What you’re going to learn today is one of the most valuable techniques you could ever use in your piano practice. The amazing thing about it is that you can use this technique with almost all of your music! It’s incredibly valuable, especially for something fast. I’m going to play the beginning of the B minor Scherzo of Chopin. It’s a little rusty, so I can practice it in front of you. You can see for yourself how this technique works in the accompanying video.

The technique of fast playing is sometimes dramatically different from the technique of slow playing.

When you’re working on a fast section like this, you could do the obvious thing and put the metronome on a slow speed and do metronome speeds to work it up. But the problem with that approach is that you might hit a wall where you can’t get any faster. Why is that? Because the technique of fast playing is sometimes dramatically different from the technique of slow playing. This is particularly obvious on a wind instrument because the breaths come in different places. It’s a whole different experience. Even on the piano, fast playing feels different from slow playing. You try to get faster and faster with the metronome, but sometimes you just can’t get any faster.

I’m going to show you a completely different technique using musical snippets.

Just play the smallest possible unit that makes sense to you. Take a tiny number of notes. You can just take the first two notes, then take the next two, and then put them together. Now you might not want to go note by note. You might instead consider note groups that fall under your hands. Some snippets are basically broken chords. You want to get over the next note group as soon as you hit the new hand position; otherwise, you’ll never gain speed. So as you finish one note group, you get your hand in position over the next note group.

You can work through your music this way, gaining confidence and playing with the technique you’re going to eventually use when you play the whole piece.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to show you how to start anywhere in your music. To have effective practice, you must be able to start anywhere. Let’s say you’re playing a piece of music. You mess up somewhere, and you keep starting at the beginning. Maybe the next time you get it, but you haven’t really solved the underlying weakness that caused that problem in the first place.

Being able to start where the correction is made is vital.

You want to be able to start where the correction is made, but sometimes it’s really hard to even find that place. I want to demonstrate this with a piece that’s difficult to start in the middle because it’s counterpoint. I’m going to use Bach’s Invention No. 1 in C major. Watch the video to see the demonstration! This piece does divide itself into some macro-sections that I can articulate for you. Suppose you have an issue in the middle of a section. So you decide to just start the whole section again. Whether you get it again or not, it doesn’t really matter because you still have the same odds moving forward of getting it or not getting it. Just finding the exact place is a big challenge! You must read your score and identify where it is. Now you know where to start, but you can’t start there. It seems totally foreign.

The reason it’s hard to start in the middle of a section is that you don’t know what fingering to use.

When you’re starting in the middle, it’s hard to figure out what fingering to use. So here’s the tip. Go back to a place you can start from. When you get to where the issue is, stop and pay close attention to what fingers are on what notes in each hand. Then you lock it in, and you can start from there. Now you can make the correction and get it solidified by playing through the passage a number of times. Then you go back to the beginning of that macro section and connect it several times until it is smooth.

To recap: Step one is: Find where the correction is. Step two: Go back to a place you can start from before that place. Step three: Lock in what fingers you use to start in that measure or phrase so you can effectively start there. Without this method, you get there, and it’s almost like you’re reading the music for the first time! It seems totally unfamiliar. Have you ever had that experience where you almost feel like you don’t even know the piece when you try to start in the middle? Your fingers know where to go, but you can’t solve the underlying weakness because you can’t start right at that particular spot. Well, now I’m giving you the tools to start from anywhere in any piece!

This is the way to have effective, productive practice!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to show you how to make your melody float on water. What am I talking about? You want to be able to have your melody soar above a bed of rippling currents. The accompaniment in the left hand is like the rippling waves, with the melody in the right hand floating above. I’m going to tell you how to achieve this!

You must find really great fingering for the left hand in order to achieve a delicate legato.

The way to discover good fingering is by practicing without the pedal. Support the melody in the right hand with a lot of arm weight, so the melody can be above the accompaniment, and then play with a very fluid legato in the left hand. By playing without the pedal, you can hear what’s involved in this process. You’ll hear the fluidity of the left hand. You have to find fingering that enables that kind of legato.

The other side of this is that you must have a buoyant melody that rises above the accompaniment.

Why is this so difficult? For two reasons. First of all, high notes don’t last very long on the piano compared to low notes. And on top of that, you have more notes in the left hand. The left hand is faster than the right hand, so it’s a double whammy. So you must create an angularity in your balance where the melody is much louder than the accompaniment. But how can you achieve it without making it sound harsh?

The secret is to transfer the weight of the arm smoothly from note to note.

Instead of articulating each separate note, use the weight of the arm to smoothly transfer from key to key achieving a fluid line, like the breath of a singer or the bow of a string player, so each note floats to the next. You can never achieve a smooth line by calculating from note to note. It will end up sounding calculated! When you transfer the weight of the arm smoothly from key to key, you get a fluid line. By doing this, you can play with tremendous energy without getting a harsh sound. Remember, the piano is a percussion instrument. When you’re playing a beautiful melody, how can you make it sound smooth? Use the weight of the arm in the right hand and a smooth left hand that’s very beautiful, but underplayed. Find a fingering where you can play that extreme legato.

Practice incessantly without the pedal so you can find the fingering that enables this.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to show you how to practice Bach’s Prelude and Fugue in C Minor from book one of his Well-Tempered Clavier. First, I’m going to play it for you. Then I want to zero in on the fast section. The whole thing is 16th notes, and then just towards the end it gets fast. It’s a great prelude. I want you to hear it first, and then I’m going to show you a bunch of ways you can practice this prelude. Stay until the end, because the last technique I’m going to show you is the ultimate technique!

Some people spend countless hours learning exercises.

Instead of learning tedious exercises, you might as well use music to develop your playing. That’s exactly what I’m going to show you how to do here. I’m going to show you a whole bunch of ways you can practice this prelude. These methods are really valuable. It kind of turns this prelude into different exercises that have great value, not just for playing this piece but for developing your technique.

First, let’s talk about the obvious things you can do.

Turn the metronome on. Find a comfortable speed where you can play it accurately. At first, when you’re playing slowly, articulate each note with gently rounded, raised fingers. This way, you get precise release of notes so the notes don’t blur together. Take the tempo up one notch at a time. As you get faster, make the fingers more gently rounded, and stay close to the keys. Of course, you don’t raise your fingers when playing fast. It’s only a way to help you practice the release of notes when playing slowly. When you get faster, lighten up and stay close to the keys.

Another handy way of working on this is with different articulations.

For example, try playing with staccato fingers. Or you could play one hand staccato and the other hand legato. There are also different accents that you could use. You could do four-note groups. You can play with different rhythms. You can play with different dynamics in the two hands. Naturally, there are other things you can do—other rhythms or accents. Some people might even want to accent the offbeats. See the video for examples of each of these techniques!

You could just spend hours, days, weeks, months, or even years with this one prelude, turning it into hundreds of different exercises!

You can use these different practice techniques with your music instead of learning hundreds of different exercises, and you get the same value. Plus, you get the added benefit of learning a piece inside and out as a reward for your hard work.

As I promised, here is the ultimate practice technique.

I love this practice method because it really trains your hand and your brain to be able to play this piece by practicing different note groups. First, play through the section broken up into four-note groups. Then, when you get comfortable going through the whole section that way, you can practice playing groups of eight notes. And then you can play groups of 16 notes at a time. You can focus on sections that need work, and identify the precise group of notes that need to be solidified.

Zero in on the parts that need work.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to explain how to play 3 against 4 rhythms. Have you ever tried to play three against four rhythms? You have a triplet in one hand and four 16th notes in the other hand. How can you possibly play those two rhythms? Some teachers just say to play the four with one hand, and play the three with the other hand, and then put them together. Well, what if that doesn’t work? What can you possibly do? By the end of this, you’re going to be able to play three against four!

First, I’m going to explain the mathematical relationship so you understand what is happening when you play 3 against 4.

Let’s simplify things for a moment and start with 3 against 2. 3 against 2 is not all that hard because it has basically six divisions. Two goes into six three times, and three goes into six two times. So your hands play together, right, left, right, left if the left hand is playing the triplet and the right hand is playing two notes. And indeed, that produces the correct rhythm.

So the question is, can’t you do the same thing with 3 against 4? Technically, you can. But I’ll explain the problem with that in just a minute. You could figure out the mathematical relationship of 3 against 4 by counting to 12. Because, after all, three goes into twelve four times, and four goes into twelve three times. Mathematically, that works.

But the problem with that is getting it up to speed. Suppose you’re playing something like Debussy’s The Snow is Dancing from Children’s Corner Suite. At the fast tempo that goes, how could you possibly ever count that fast? You couldn’t. It’s impossible. A 3 against 4 is usually going to be at a faster tempo than you can count in this manner.

So here is the method for playing 3 against 4.

First, I’m going to show you how to rough it out where it’s not correct, but it is close to what three against four is. Basically, the rough version (which is not rhythmically even) is to play your hands together, left, right, left, right, left. If you just listen to the three, you’ll hear that the rhythm is distorted. It’s not quite right. So why am I telling you to do this if it’s wrong? Because you can at least start to understand which notes play first in each hand. Then you can adjust the rhythm to make it correct. And I’ll show you exactly how to do that. It’s the third triplet that has to come in later, so the last one in the right hand is going to come in later (if the triplet is in your right hand). The problem is, if you do that, the whole thing bogs down. So the last note in the right hand has to come in later, and then the last note in the left hand comes in right after that, much sooner than you might think.

To check if you’re doing it correctly, tap one hand on the top of the piano and play the other hand on the piano so you can hear clearly.

This is incredibly valuable. For example, with 3 against 2, the 3 is easy. So you tap the 3 on the top of the piano (or in your lap) while you play the 2 on the piano so you can hear the 2 clearly. When you play 3 against 2, you’ll be tempted to accent the second note of the 2. But that is not the way rhythm generally works. Usually, the first notes on the beat are louder or have more rhythmic emphasis than the off-beats in a group of two notes (unless it’s a syncopated rhythm). So you want to purposely underplay the second note of the tuplet (the two). You can do the same thing with your music. By playing one hand on top of the piano, you can hear what the other hand is doing. Because when you play the hands together, it can be all but impossible to identify the distortion of the rhythm. But when you play one hand silently in your lap or on top of the piano, you can clearly hear the evenness of the slower note on the piano (the two in 3 against 2, or the three in 4 against 3).

This is a hack that really works!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I have a wild story for you about how a piano move put my wife into labor. This is a true story that you have to hear to believe!

I had a good friend at the time who was also a pianist and keyboardist.

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you the story of how we had 27 pianos in an 1100-square-foot house. It’s actually the story of how I got into selling pianos. It all begins with how I started teaching piano.

I started teaching piano when I was still in high school.

I assisted my father, Morton Estrin, with his teaching, as my sister did before me. It was my part-time job throughout my conservatory years. Teaching has always been a mainstay. People would call me for lessons, and the first question I would always ask was, Do you have a piano? If they didn’t, I would tell them, honestly, you’re better off with a piano and no lessons than lessons and no piano. So I was turning away students right and left, and I couldn’t really afford to do that. We were kind of struggling financially. I was driving my Pinto all over the county and beyond! This was in southern Indiana since I graduated from Indiana University in Bloomington.

Eventually, I bought a big old upright and moved it myself.

I ended up moving hundreds of those big, tall uprights. Thank goodness I lifted correctly and fortunately, never hurt my back. So the next time somebody called for lessons, I asked if they had a piano, and they said no. I said that I had one they could try out. And sure enough, they bought the piano! I got another student, and everything was good. So I was bold and bought two more. But my piano technician came in and told me that the bass bridges on both pianos were cracked. I always checked out the pianos. I would look at the hammers and the soundboards, but I never thought of taking out the kickboard. Sure enough, the bass bridges were cracked on both pianos! My technician said he didn’t do that kind of work, but he recommended another tuner. So I called them up, and they came over. I didn’t really have the money to fix it. So I asked if there was any way he could do the work, and then when I sold the pianos, I could pay him and split the profit. And he was nice enough to agree to that. So we did that. Sure enough, both pianos sold, and they both made a profit. So I realized that this was something we could scale (pun intended!).

Before we knew it, we had five pianos, then seven pianos, and we topped out at 27 pianos!

We had a walk-out basement. I also had my recording studio down there. I’ve always been into music technology. We had a lot of the pianos upstairs because, among those pianos, six of them were grand pianos! We had two young children at the time. Eventually, we topped out at 27 pianos in an 1100-square-foot house! That’s right. This is real. It’s not just clickbait. We actually did that. Since that time, we’ve always had pianos in our home. And we still do right here in the Waterloo Arts District. This beautiful historical building was originally built in the 1860s, if you can believe it. We have two showrooms down here, and we live on the two levels above. Down in the basement, we have our ping-pong table. We play almost every night! The other half of our pianos are up the street at Treelawn Music Hall, where they have a phenomenal jazz program in a small venue and a large music hall where they have a 9-foot concert grand Steinway we sold them. We have our pianos there in what used to be a bowling alley. So we literally live with these pianos, and I wouldn’t have it any other way. Now my teaching is all online, and it’s a joy. Teaching and pianos, along with performing and recording technology, have been the mainstays since my high school days. Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.

Welcome to LivingPianos.com, I’m Robert Estrin. Today, I’m going to tell you what the greatest challenge has been with moving to Cleveland. Believe it or not, it’s finding enough great piano technicians! We started LivingPianos.com as the world’s First Online Piano Store in Orange County, California, in 2006, doing over 80% of our business out of the area. We were in one of the most expensive places in the country. And we lamented that we had to spend so much money to do business there when we were selling most of our business out of the area.

My sister, Coren Estrin Mino, is also a pianist.

She graduated from the Cleveland Institute of Music years ago, and she settled here. She’s a pianist and a teacher. So I’m no stranger to Cleveland. But think of the arduous task of moving our store with dozens of pianos. We had a recording studio. We even had an Airbnb we rented out. Not to mention our home. Moving was a huge undertaking, but it has been incredibly worthwhile!

We loved Southern California.

We were 20 minutes away from Laguna Beach. We have friends there who we loved to visit. But coming home, if it was after 2:00 pm, we would be stuck in rush hour traffic. We had to plan our whole day around the traffic. I don’t miss that. Of course, the weather in Cleveland cannot compare to Southern California. But there are a lot of great things about Cleveland.

Cleveland is a great place to live!

Welcome to LivingPianos.com, I’m Robert Estrin. Today I’m going to tell you why you must practice your music in chords first. There are so many benefits to this! I’m going to dive right in and show you. One obvious example of how a piece can be reduced to chords is Bach Prelude in C Major from The Well-Tempered Clavier Book 1.

The entire prelude is just a bunch of broken chords!

By practicing in chords first, you will get it into your fingers and your head. You’ll understand the harmonies. It’s much simpler to initially learn each phrase of this piece in chords first. You can discover the best fingering and understand the structure of the music. There are many other examples of this that may be less obvious. For example, an Alberti bass in Mozart, like in his famous K 545 C major Sonata. The left hand can be reduced to chords as you learn each phrase. This will help you to digest the score.

There’s much less to learn, and then you can break it up after you’ve learned it in chords.

There are some other examples that may be even less obvious to you at first glance. For example, the very first Grieg Lyric piece. That one is basically just chords. It’s so much easier to learn it when you just reduce it down to those chords. I’ll give you one more example. This one is a little bit harder because you can’t necessarily reach the chords; at least my hands are not big enough to reach them. But it’s still valuable to play it in chords, even if you have to break them. The first Kinderszenen (Scenes from Childhood) of Schumann. Once again, you can break it down into chords. You don’t want to necessarily play the whole piece in chords. But as you learn each section, first playing in chords will help you learn the music.

You can utilize this technique in your practice of so many different pieces of music!

It will save you time, you will develop good fingering, and you will understand the harmonies in a much deeper way. How many of you practice this way already? I’d love to hear from you! Let us know in the comments here at LivingPianos.com and on YouTube! Thanks again for joining me, Robert Estrin, here at LivingPianos.com, Your Online Piano Resource.