The Making of Steinway L1037 Airs on PBS

For all of you who love and appreciate piano music, you will want to watch Note by Note: The Making of Steinway L1037. It will be airing on PBS beginning this Monday. You can check your local listings at: http://www.pbs.org/notebynote/airdates.html.

This 1 hour program describes the making of a Steinway concert grand from the selection of the wood for the cabinet and sound board to the finished product found in homes and concert halls throughout the world. Did you know that a Steinway grand is made up of 12,000 parts, takes 12 months to manufacture, and involves countless hours of work by 450 craftsmen to complete the finished product.


A few years ago, I had the pleasure of a personal tour of the Steinway factory when one of my adult students was in the process of selecting a Steinway B model for his home. The Steinway B is just under 7 feet long. My student drove us to the original Steinway factory in Astoria, Queens, New York on a quiet morning. We were given a personal tour of the factory by the sales manager and saw pianos in various stages of production. We even saw where the original coal fired furnace was. The building dates from the 1890s. Of course everything is modernized today. We tried a few of the pianos that were still in the factory, and then the sales manager drove us across the bridge to Manhattan where I helped my student choose a beautiful Steinway B for his home.


For more about the program visit: http://notebynotethemovie.com/.

Mastering Piano Technique - Clean and Articulate Runs

One thing that I pride myself on is that my students are able to play clean and articulate runs in their performances. By following a logical sequence of pieces with each piece progressively more challenging technically while still within the student’s level, every student can achieve the goal of clean, sparkling, and brilliant runs.

The Sonatinas

Intermediate students can gain practice in performing runs by studying the Clementi and Kuhlau Sonatinas. These Sonatinas are charming, delightful pieces which will give your students a sense of accomplishment and mastery. By studying the Sonatinas, piano students gain mastery of technique without the need to practice boring exercises while furthering their reading, phrasing and interpretive skills. The skills gained through a study of these Sonatinas will ease the student into later study of Sonatas by Beethoven, Haydn, and Mozart.

After studying a sequential group of the easy piano classics such as those found in Schumann’s Album for the Young, the delightful pieces in the Anna Magdalena Book of J.S. Bach, and other selections found in some of the excellent early classical piano collections, the student is ready to begin Sonatina in C Major opus 36 #1 by Clementi. The student is introduced to in runs in a 1 or 2 octave range with turns on the 3rd and 4th finger. By introducing gradually more advanced Sonatinas, the student gains proficiency in performing increasingly difficult runs and scale passages.

One of my favorite Sonatinas is the charming Sonatina op. 20 #1 in C Major by Kuhlau. One of the reasons that I am particularly fond of this piece is that it is one of the few Sonatinas with runs in the left hand. Both hands must be equally developed to play the more advanced music to come. I find that when a student can accomplish all three movements of this Sonatina, he or she is can easily make the transition to the Mozart Sonata in C Major, k545.

Mozart Sonata in C Major, k545, First Movement

Many students will experience some difficulty with the runs in this movement. The first set of runs occurs in bars 5 through 10 in the right hand. To master these runs, I have students do the following:

1) First have the student play each run slow, heavy, digging in. Repeat 3 to 5 times with the right hand alone. I usually do the first repetition with the student. I play along emphasizing playing loud, slowly and with evenness of touch. The weight of each finger must be evenly placed. Make sure that the fingers of the hand are rounded similar to grabbing a tennis ball or shaking a hand. Weight must be distributed on the fleshy part of the finger tip, not on the nail. Give special attention to turns. As you make the turn, keep your thumb raised at a 45 degree angle. This will help keep your runs smooth and even. A flat thumb will create a bumpy sound.

2) After the student has practice the run slow, heavy, and digging in, I have the student play the run 3 times in a natural manner. I have the student play the run in tempo and lighter. Sometimes I add a bit of bounce to my own 16th note passages to help gain clarity, evenness, and articulation.

3) If the hand gets tired during the slow, heavy, digging in practice, have the student practice the left hand chords. The better the student knows the accompaniment, the more he or she can concentrate on the more difficult right hand.

4) Students should pay extra attention to accuracy of fingering. Remember that the surest way to mess up the run is to be careless about fingering. With this particular piece, make sure that you hold the eight note that begins each run passage for the correct time. I sometimes have students count 1234 for each beat rather than 1 and to help get perfect timing.

In the development section of this sonata, short runs occur in both the right and left hands. The same practice methods apply. One of the most problematic sections in this piece for students is the runs that occur in the left hand. Again, use these same practice techniques and give special attention to learning the correct fingers. Learning the correct fingering will go a long way in achieving mastery of this difficult section.

Another Exercise to Achieve Smooth and Even Runs

The most difficult part of the run occurs right at the turn. The student can create an exercise practicing just the turns. In fact,the exercise can be called turns or before and afters. Simply play the note before the thumb, the thumb note, and the note occurring after the thumb.

For example, if the fingering or the run or scale looked like this:

1231234123….

Practice the following:

Play the 3-1-2 combination 5 times slowly and then 5 or more additional times gradually increasing the speed. Do the same for the 4-1-2 combination. Be sure to stand your thumb up at a 45 degree angle to create a smooth and even turn.

These exercises are applicable to a wide variety of pieces at various levels of difficulty. E-mail me or leave a comment if you have any questions on how to perform the exercises in this blog. Happy practicing. :-)

Mastering Piano Technique - Practice in Chords

With this post, I will begin a series of articles which will present my technical ideas. Many people feel that good piano technique is the playing of glittery piano passages cleanly, quick and speedy playing, and big sound. On the other hand, interpretation of the piece is also an important component of performance mastery. In addition to finger dexterity, elements of tone production, rhythm, pedaling, dynamics, and musicality must be taken into consideration.

In my own experience, true mastery of technique came when I suddenly had the control to reproduce with my fingers what I heard in my mind. I will begin a series in this blog called “Mastering Piano Technique” which will help you and your students do the same. I will even discuss the teaching of a number of favorite student pieces from a technical standpoint.

A Simple Exercise

As I had mentioned in a previous post, one of my favorite exercises is to practice passages in chords. Passages that lend themselves well to practice in chords include Alberti base passages; similar passages with the right hand, passages consisting primarily of broken chord patterns, and of course, arpeggios.

Some of the advantages of practice in chords include:

1) Establishing a good set of fingering patterns – When you block a passage out in chords, chances are that the way your fingers fall into the chords will be the correct fingering to use for these passages.

2) Proper positioning of the fingers – By practicing in chords, you teach your fingers where they need to be placed to perform the passage accurately.

3) As an aid to memorization – Learning the chordal patterns found in the music is an aid to memorization.

4) Mastering Arpeggios – Arpeggios, are basically an extended chord, for example, a C Major chord repeated over 2 or 3 octaves. Practicing in chords will help you gain the accuracy and speed needed to play arpeggios cleanly which can be difficult to achieve. Rather than trying to connect each chord, after practicing in chords, play the arpeggio by just quickly hopping over to the next chord while keeping the fingers close to the keys to make it sound connected. Also, be sure to keep the thumb pointing down in a slightly diagonal position rather than flat to keep the arpeggio smooth and even. The result will be a very clean and well articulated arpeggio.

5) An Easy Exercise for Students to do – Practicing in chords is a very simple exercise for the student to do, yet this practice technique always yields results.

Here are some examples where practicing in chords is effective:

Advanced Elementary

Little Song by Robert Schumann –Have students practice the left hand in 2 note chords e.g. c-g, d-g, e-g f-g, etc. Than have the student play the left hand quietly and evenly maintaining the position of the chords. Have the student practice the right hand with good tone, since this is the melody. After each hand is mastered, have the student perform the piece hands together.

Waltz by Shostakovich – I find that having the students practice the left hand in chords for this piece is very effective towards gaining mastery. Have the student play the entire left hand in chords using single notes in the non-chordal passages.

Intermediate

Clementi Sonatinas – The Clementi and Kuhlau Sonatinas immediately come to mind with all of the Alberti bass passages.

Solfeggietto by K.P.E. Bach –This is another one of my favorite intermediate teaching pieces. There are many passages that lend themselves to practice in chords.

Advanced

Schubert Impromptu op. 90 #4 in A-flat – One of my favorite short pieces, the cascading broken chords in the right hand of the A section of this piece must sound smooth, sparkling, even, and effortless. Practicing these passages in chords will teach your brain the proper placement of the fingers. You will want to supplement the practice in chords with additional exercises. Another problem is the smooth transition between the broken chords. On the switch of fingers on the repeated note, be sure to never leave the feel of the key as you make the switch in fingering. Another useful exercise for mastering this beautiful piece, is to practice a beat and a note e.g. Cb-Eb-Cb-Ab-Ab several times followed by Ab-Cb-Ab-Eb-Eb, etc.

You will find many other passages in the pieces that you perform or teach that will lend themselves well to this simple but effective exercise.