We are looking into Chopin's nocturne Op. 48 No. 1 and how better physical organisation and function can help us archive better musical expression
Born in Montreal in 1955 Alan Fraser studied piano but also delved into composition, cello, classical singing and had several stints as a pop musician. Alan’s main pianistic influence was the pioneering research of Phil Cohen who studied alongside Ronald Turini, Andre Laplante and Janina Fialkowska with Yvonne Hubert, who had been Cortot‘s assistant in Paris. Alan spent several years with Cohen after an apprenticeship with two former Cohen students, Alan Belkin and Lauretta Milkman.
We are looking into the opening sequence of this nocturne and basically we don't want to push the buttons so to way only. We want to be continually orientated on the keyboard instead
We need to see through the musical though, not just press keys at the piano
The thumb gives the arm a function, it builds it up while we play
Fingeres should have a great deal of sensitivity to the keys but should also be supported by a moving breathing body
The right hand only
A bit of ATM at the piano
