Technique and methods
24 posts
Started 18 Jan 2017
A
Alanfraserpiano
It is a more common problem than it would be if it were just about size. It's about orientation on the keyboard and flexibility of mind as well as body!
I don't know of anyone who actually plays like that. It's an exercise. You have to do it really diligently and completely if you want to eventually learn not to parasitically contract your thumb. Then even later you will learn to lift your thumb non-parasitically.
AFF
A
A pianist
*He plays with a very collapsed arch
Sorry about that. I guess the playing process will become easier and totally tension-free after the hand will start to function as an independent unit. I sometimes start to feel that the hand is a different part from the arm. Then the things start to work really well.
A
Alanfraserpiano
I forgot to post the most important point: Kemal plays with a collapsed arch because he CAN, and the reason he can is because They learned to WORK WELL through a long and arduous development process. Now, when their "work ethic" has become completely ingrained in their reflexive self-perception, they work well no matter what position the skeleton is in. And because it is often more convenient to have a low arch, Kemal employs it - WITH this extremely important caveat!
AFF
A
A pianist
I forgot to ask you about the prelude and the other piece Masha played for us yesterday. I think that prelude is from 5 little preludes which are BWV 939-943 and not from 6 little preludes which are BWV 933-938. I think the later are for more advanced players. I am looking over the sheets at this moment. Please check out and tell me which BWV she played so I can print the sheet. Oh yes and the piece by Tchaikovsky...was that "The sick doll"? I am so curious how fast can I learn these 2 she played.
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