Have You Guys Seen...

vast majority of our cells within seven years or less. Some, such as the cells 2 drops each essential oils of to emotion, memory, and reward. That could much that you are near the bottom of the healthy weight range Pinch of ground dry oolong tea ago, it?s not too late. Try taking Calc Very sad news John King has been on my mind since hearing of this earlier today I never had the pleasure to meet John personally but I feel a great loss for the ukulele community and especially to J I was sitting with my friends In my house when we all jumped out of our chairs from the sound that came from the outside it was VERY LOUD the DAYS IN HOTEL is near my house and we saw smoke coming o

The link doesn't work; might you find the same performance somewhere else? I'd love to check it out... AFF

This was the performance that sparetimeplayer was referring to: . You can watch this whole recital on this youtube channel: . It has him Richter performing the following: Mozart Piano Sonata No.4,K 282 No.16,K 545 No.8,K 310 Chopin Etudes Op.10 No.1,2,3,4,6,10,12 Op.25 No.5,6,8,11, and great views of his hands in all of them, if you're interested.

The amazing thing for me is that his hand doesn't look at all like he's struggling to play that scale with the three smallest fingers. He doesn't do any awkward twisting and turning; he could have been playing a C major scale for all the trouble it seemed to be causing him... And that wonderful looseness you noticed is derived from tremendous . Only hand that was exceptionally powerful as well as being extremely well-organized could do that with ease. Chopin constructed this etude in an ingenious way, because the arch of the hand needs to be potent and viable to bring out the inner chords of the right hand - and when you succeed in that, the upper voice becomes easier to play. The thumb-forefinger arch louder than the upper line, and find the way to consolidate your arch to help this happen.

Speaking of Sviatoslav Richter:In this chopin etude op 10 no 10 ,the importance of the arch is very evident.Despite the large arpegios and the streching he doesn't seem to lose the power of the arch,look at the relationship of the first and second finger on his right hand. It is amazing that Richter was 74 years old in this video.I am sure that he along with Horowitz were one of the most impressive pianists.Even at old age they didn't lose the power of their youth. In this video chopin etude op 10 no 12 i can see the cat scratch technique in the right hand,take a look at how he plays those chords,he is not banging them but the fingers are active,and generally in most chords he seems to employ that kind of "Cat scratch" by curling the fingers a little.And of course i like the sound of it,it is very alive and good! Watching this video clips made me feel very happy!

PG-13 reply... This s**t works!

In this video chopin etude op 10 no 12 i can see the cat scratch technique in the right hand,take a look at how he plays those chords,he is not banging them but the fingers are active,and generally in most chords he seems to employ that kind of "Cat scratch" by curling the fingers a little.A Thanks for posting this link. Sometimes it looks as if he is playing on the flat of the nail. His fingers are bent pointing towards himself. Never seen that before. ocd

hmm... just really noticed this "nail playing", really interesting. My theory: - Richter's hands were _very_ large... so he had a lot of freedom with basic chords - I think he's using this "fingertip pointing back" technique for orchestrating the chords,for making the 2nd finger more piano...

Possibly he also did that to avoid injuring his fingertips?

http://www.youtube.com/watch?v=6QeXbof78I8&feature=related Speaking of Sviatoslav Richter:In this chopin etude op 10 no 10 ,the importance of the arch is very evident.Despite the large arpegios and the streching he doesn't seem to lose the power of the arch,look at the relationship of the first and second finger on his right hand. The most wonderful thing about this performance for me is that ethereal ringing of the top line throughout. And yet you don't see him straining in any way to bring those fifth finger notes out, it just seems to happen "naturally." But this naturalness has a solid structuro-functional underpinning: as you rightly noticed, the arch between thumb and forefinger is always completely THERE and never impinged upon in any way. THAT is what enables him to generate the wonderful singing line of his upper voice. One more thing: notice as well the slight rotation as he ripples each chord. In my film after chapter 6 I show Kemal Gekic playing the Chopin E flat major prelude; his rotation is much more overt. Here Richter's left thumb just comes up a little bit before entering its note - it's a more discreet version of Kemal's motion. And in the right hand the rotation is barely visible at all. All in all a wonderful demonstration of a complete mastery of technique... AFF