Here's Proof That You Don't Need To Be Strong To Play Piano
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- čas přidán 17. 04. 2024
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More than gravity it's whip motion. Sinergic movement in acceleration is what produces a big sound. Gravity is part of the story, but just half. Action and reaction, twictching and rebounding.
What this shows me is how much I have learn yet!!
I was always taught not to strike the key but to press to activate the mechanism to swing the hammer up. It took me a long time to realize that gravity provides the support for the controlled acceleration of the key with the finger. I just recently discovered these videos and this and a few others have really helped me too start to incorporate this into my playing.
Lateral forearm movement gets into position.
The first thing my teacher taugh me
How do you accomodate the arm when you have to do a lot of fast jumps, like in stride piano or Ragtime? I always get a little pain eother on the inner part of the elbow, or in the exterior side of my wrist, in the muscle behind the pinky
Hi! I'm new on this chanel. Do you have any excercises to practice this technique? Great videos btw
I have a few videos somewhat recently posted where I talk about developing arm weight. I also have a lot of older videos where I talk about various aspects of technique. Hope that helps!
Here's the root, contemplative exercise developed by my piano teacher Otto Hinkelmann in Vienna around WW1 which became quite popular. Both hands in a modified "Chopin position" using C instead of B (E F# G# A# C) centered on middle D. Fingers somewhat "flat", contacting the keys with the soft pad behind the tip. Wrist and forearm poised. Drop forearm: play 1, 2, . . . to 5 and back to thumb. Minimize joint movement and rely on forearm drop from with key surface. Alter tempo, touch, and volume. 5 minutes or so of duration. Work the motion through your body to your feet. Play will begin to flow and your muscles (Li) will give way to orgasmic energy (Chi). In about 6 months, your beautiful, clear singing tone will bring tears to the neighbors. This was Horowitz's secret, putting his gay sexual frustration into it. Please don't scoff at this. I learned Rach in his studio with sheet music notated by Rach. If he hadn't been shot in the hand on the Western Front, you'd know his name.
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Proper weight transfer with, obviously, use of gravity is the key to the most efficient technique. This clip is another exampling of it in obvious employment. Ekaterina is a passionate and robust player who moves around a lot to get in position for the best contacts. "Bridge and crane" analogy on steroids here. Look at her other clips, like The Great Gate of Kiev. Yet she controls the weight applied to keys to express exactly, precisely what she wants. Note her overall tech-she sits back from the keyboard, high on the bench, forearms slope down, not parallel to the board as default, higher writsts, strong and apparent knuckle bridge, parachute shaped hands, default contact is on finger tips with bone to bone straight through alingment in finger joints. She leans in from a high and distant sitting position. ARM WEIGHT and GRAVITY anyone? She reminds me of what I know about Sviatilav Richter's strength and technique. I saw her play one with bare arms, strong, strong, strong from the feet to the shoulders to the the fingers. She also plays Mozart quite well, the technique allows lighter contact due to arm weight control. Arm weight control mediates all manner of playing.
Enjoy and learn, please.
The use of gravity should be based on the independence of the fingers has been developed
Bare arms on Mussorgsky.