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My Method / Checklist - 12 Basic Elements to Bear in Mind - Live Lesson (English subtitles)
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::::::::: ▼::::::: INDEX ::::::: ▼:::::::::
0:00 - 1/2. MY METHOD
0:46 - 2/2. CHECKLIST
1:49 - I. The “MAIN MOTOR” (from the shoulder to the wrist).
2:01 - 1. Shoulders activation.
► Recommended videos:
2:17 - 2. Forearms in high position.
2:38 - The “breathing” of the hand.
2:55 - 3. Forearms in low position.
3:19 - Exercise A on the surface of the keyboard (without pressing the keys).
4:14 - Exercise B on the bottom of the keyboard (without releasing the keys).
4:43 - 4. Lateral circulation of the arms: ← →
5:15 - 5. Circulation of the arms forward: ↑↑
5:52 - 6. Resultant circulation of the arms: \ /
6:48 - II. “ACTUATORS” (from wrist to fingertips).
6:56 - You cannot play using your hands and fingers muscles only.
7:03 - But you can play these exercises with your fingers only.
7:21 - 7. Metacarpus activation:
7:34 - A. Flat knuckles - the fingers curve automatically;
7:46 - B. Knuckles in a high position - the fingers are stretched to the maximum;
7:49 - 8. Bend your fingertips (almost “scratch” the keys).
8:04 - C. Flat again, but we force the stretching of the fingers.
8:39 - Whenever possible, the first phalanx should be placed on the key entirely flat (Liszt) - see point 10 below.
8:49 - III. TRANSMISSION from HORIZONTAL to VERTICAL (creating sound).
8:54 - Assemble the MAIN MOTOR with the ACTUATORS.
9:04 - 9. It is the impulse from the shoulder that always starts the process of playing. That impulse makes the hand and fingers “catch” the keys - usually with the wrist moving from below which is the most efficient and comfortable. But we should keep a general direction of all the elements towards the piano (including the fingers that must be shot forward from the metacarpus to the keyboard).
10:08 - When the whole mechanism is well set and synchronized, I have the impression that ALL the muscles are completely relaxed.
10:16 - But this is a FALSE IMPRESSION - there are plenty of working muscles!
10:52 - Large movements for demonstration.
11:40 - This is the most efficient way of playing.
11:43 - 10. Whenever possible, the first phalanx should be placed on the key entirely flat (Liszt).
12:07 - 11. Never forget to relax the neck!
12:49 - Moving your head back helps to push away your upper body from the keyboard.
13:08 - I feel the contact between my back (and even between the feet) and the hammer striking the string.
13:37 - The key’s depth is about 1 cm. Divided between 6 joints, it makes about 1,5 mm per joint. It’s almost nothing - you don’t feel it while playing.
14:04 - Small head vertical shaking (vibrations).
14:13 - 12. All these movements must be very fluid.
14:20 - As told before, all the parts of the Motor Apparatus should work SIMULTANEOUSLY and HARMONIOUSLY, without exception.
4:32 - The 12 points above form a chain. Any technical problem means that some link in this chain is braked or blocked.
14:44 - So you can look for a solution point by point, but always starting from the SHOULDER and the NECK.
0:00 - 1/2. MY METHOD
0:46 - 2/2. CHECKLIST
1:49 - I. The “MAIN MOTOR” (from the shoulder to the wrist).
2:01 - 1. Shoulders activation.
► Recommended videos:
2:17 - 2. Forearms in high position.
2:38 - The “breathing” of the hand.
2:55 - 3. Forearms in low position.
3:19 - Exercise A on the surface of the keyboard (without pressing the keys).
4:14 - Exercise B on the bottom of the keyboard (without releasing the keys).
4:43 - 4. Lateral circulation of the arms: ← →
5:15 - 5. Circulation of the arms forward: ↑↑
5:52 - 6. Resultant circulation of the arms: \ /
6:48 - II. “ACTUATORS” (from wrist to fingertips).
6:56 - You cannot play using your hands and fingers muscles only.
7:03 - But you can play these exercises with your fingers only.
7:21 - 7. Metacarpus activation:
7:34 - A. Flat knuckles - the fingers curve automatically;
7:46 - B. Knuckles in a high position - the fingers are stretched to the maximum;
7:49 - 8. Bend your fingertips (almost “scratch” the keys).
8:04 - C. Flat again, but we force the stretching of the fingers.
8:39 - Whenever possible, the first phalanx should be placed on the key entirely flat (Liszt) - see point 10 below.
8:49 - III. TRANSMISSION from HORIZONTAL to VERTICAL (creating sound).
8:54 - Assemble the MAIN MOTOR with the ACTUATORS.
9:04 - 9. It is the impulse from the shoulder that always starts the process of playing. That impulse makes the hand and fingers “catch” the keys - usually with the wrist moving from below which is the most efficient and comfortable. But we should keep a general direction of all the elements towards the piano (including the fingers that must be shot forward from the metacarpus to the keyboard).
10:08 - When the whole mechanism is well set and synchronized, I have the impression that ALL the muscles are completely relaxed.
10:16 - But this is a FALSE IMPRESSION - there are plenty of working muscles!
10:52 - Large movements for demonstration.
11:40 - This is the most efficient way of playing.
11:43 - 10. Whenever possible, the first phalanx should be placed on the key entirely flat (Liszt).
12:07 - 11. Never forget to relax the neck!
12:49 - Moving your head back helps to push away your upper body from the keyboard.
13:08 - I feel the contact between my back (and even between the feet) and the hammer striking the string.
13:37 - The key’s depth is about 1 cm. Divided between 6 joints, it makes about 1,5 mm per joint. It’s almost nothing - you don’t feel it while playing.
14:04 - Small head vertical shaking (vibrations).
14:13 - 12. All these movements must be very fluid.
14:20 - As told before, all the parts of the Motor Apparatus should work SIMULTANEOUSLY and HARMONIOUSLY, without exception.
4:32 - The 12 points above form a chain. Any technical problem means that some link in this chain is braked or blocked.
14:44 - So you can look for a solution point by point, but always starting from the SHOULDER and the NECK.
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My Method / Checklist - 12 Basic Elements to Bear in Mind - Live Lesson (English subtitles)
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