Sound

Second movement run through

The student plays the slow second movement. Alan praises how deeply they captured its atmosphere

Your inner ear versus what actually sounds

Alan works on tight bird beats and warns that the phrase the student imagines does not always come out. He says the arm is the missing link that turns imagination into sound

Tense muscles sense nothing

Release the pelvis for the muscles to sense

Piano Somatics: Why "How" You Play the Piano Affects the Musical Result

Alan shows how a standing hand at the piano leads to all sorts of improvement in sound quality and musicianship

Piano Somatics & Tai Chi Chuan

Alan explores the interesting overlap between the distinct walking patterns of Tai Chi and the hand producing improved sound at the keyboard

This is pure sound

Arm weight with arm skeleton

Two hour piano lesson on one note

Piano is a percussion instrument. What kind of sound we get back depents of a kind of touch we provide

We pay attention to the physical so we can forget about the physical

And use our ears and play the music

Arm weight technique can actually sound very well

It also depends on what kind of sound you are going for

Why is the hand arch so important?

Kind of a rudimentary question but often neglected.

How should you actually play forte?

Drop weight or stand up?

What about articulations or orchestration while playing the piano?

Alan is taking ideas from Feldenkrais and applying it to piano technique

Sound of the skeleton

This feeling has to become a second nature when playing the piano

Why do I have sound?

Part 3 - Rachmaninov Prelude Op.32 No.12 in G sharp minor

You be the conductor

Guild your forearm as if you were conducting an orchestra

Agile wrist and forearm

Using the wrist to inflect the music, to form the music

The finger moves the key, the arm is a shock absorber

For a live, vibrant sound

The arch is the source of all your tone colorations

Not only that but the very solid foundation on what you should base your piano technique

By growing the arch as you create your sound

You are giving yourself completely different sonority

Elastic vibrations

and it's not done with curled fingers

All the physical stuff in piano playing isn't a distraction

You need to know how

Before you even feel tension, the quality of the sound goes away

Standing exercise

Have your sound instantly

Wrist and strength adjustment for the instant great sound

The physical organisation can make your sound

The wrist always wants to be the important one, let the MCP do the work

The physical organisation can make your sound

The wrist always wants to be the important one, let the MCP do the work

Authoritative snapping sound

Character of the music dictates the touch

Voice of the hand is in the arch of the hand

Big sound in Rachmaninoff prelude in C sharp minor Op. 3 No. 2

An hour long lesson on this prelude with emphasis on big sound

Get rid of the "down", especially in forte

Pianimals teachers exercise 26

The standing action internalized for ringing and clarion sound

Pianimals teachers exercise 25

Feel the wholebody

The body is moving and floating freely and the sound is great

Moving Whole Body to Move the Sound

Slide is the reflection of the horizontal nature of the tone. Do not lock your body

Let the Melody Play You

Two way exchange between the player and piano is what we are after

Move the Sound

Send the energy in the right way

Controlling the keyboard and sound production

We are talking about the controlling the keyboard and sound production and Alan claims it all happens before we even play

Amazingly Focused Lead Sound

Ever wondered if something was missing in your playing but you couldn't pin it down?

Jazz Piano - Improve Structure to Improve Sound

Alan is explaining how to create open, singing sound

Are You Doing Everything You Could

to make your conception actually sound

Real Debussy-Strange Combination of Static and Moving

Exploration of the sound is incredibly important piece of the puzzle.

Slowing Down the Keys and Making Big Sound

A special technique for not only more articulate playing but really healthy sound as well

Magical Moments that Matter

Series wrapup. And we also talk about that magic in sound that means a difference

More Vibrant Sound

And the hand organisation that allows it

It Needs to Sound

No matter what you think about the music or the score, it really needs to sound/resonate/vibrate..

Feel the Melody Pulsing

Asked by: ingela

Rich and Powerful Sound With Arm Weight Technique

Alan explains the real mechanics behind the arm weight technique

Feel the Vibration of the Key

Expression arises out of physical relationship with the piano

Stay Supinated and Elasticised

We are working on left hand arpeggios

Massive Sound in Liszt without Banging

Liszt-WIlde Jagt-Transcendental Etude

The Whole Structure of the Piece

We are talking about the structure and Kemal points out that everything played must really sound well

Is Over Relaxtion Limiting Your Sound

Structured vs relaxed hand and the sound we get (bone connections

Good Rhythm Makes Everything Sound Alive

Go to the hypermeasure without losing any of the subordinate rhythmic patterns

Mystery Hidden in the Layers of Sound

We are moving through the piece and talking about the sound differentation, layers

The First Fundamental Requirement - Good Sound

Alan talks about the beginning of his work with Kemal

Ondine - The Grammar of Touch

Book II, Prelude No. 8

Balancing All the Down Forces with up Forces

Perceiving more "up" than "down"

How to Get a Loud Sound Without Banging The Piano

By going up instead of down

Getting All the Colors We Need out of the Piano

No weight of the arm interfering with "dancing" with the notes

How to get Big Sound at the Piano

Working with the keys, not against them and making the strings vibrate the right way

Interesting Harmonies

We are covering dolce appassionato and presto sections and talking about the character, harmonies..

Walking Forwards vs Walking on the Spot

Asked by: markeog

The Arch of the Hand is Always Elastically Loaded

Extreme Voicing opens up he sound of the piano, and the arch should be elastic

If We Grasp We Instantly Have the Arch Structure of the Hand

Use the arch and nullify the uglu down forces and get the healty tone

The Fingers are a Delivery System for the Wisdom of the Palm

Intimate contact with the keys, playing with the palm

Freely Floating Sound and Arm Weight

Alan shows how to get that rich full sound out of the piano

Exploring the Emotional World

Alan and Luba are looking into very deep emotions, feeling of despondency in the main theme

The World of Berceuse

We are exploring that touch and that feeling of 'tunneling the keys' in order to get the sound we want

Why The Less Flexible Wrist

You stop moving the wrist and music acquires this static quality

Sense of a Buzzing Color

Alan wants to hear all the voices and brings out more peculiarities of Debussy's composing style

Always Feel the Underlying Current of Sadness

We are beginning our journey into decoding Schumann

Asserting the Sound - Moving Before the Key Moves

The difference between solidifying the structure/internal movement and the sound we get by doing so

Internalizing Musical Intention

Today we are talking about inner organization of the hand in order to archive a special quality of sound

The Wrist Movement for Debussy

Alan shows a wrist movement totally opposite from what you would expect

Suggestion-Accents-Non-Accents

Kemal is looking for a specific dirty sound and explains the difference between accents and non accents

Getting That Debussy Sound

We are trying to understand and decipher that specific sound

The Balance of the Down and Up Forces

Alan explains how to balance out the sound, soundboard and Horowitz

Liszt-Liebestraum in A Flat Major - The Thumb Part 1

Another recent lesson with a focus on the thumb, orchestration and sound

How Do We Apply All This in Music

We are talking about phrasing, sound, horizontal playing..

Rachmaninov-Prelude in G minor

Valuable info on orchestration, sound, performance...

Liszt-Wilde Jagd Part 3

Alan is heloing Remon get a great sound and become one with the piano

Piano Walking and the Young Pianists

Alan works with a young student and explains the propper technique

Drop and Stand

Functional standing that gives us the quality tone

Making the Piano Sound Exceptional

Hand's structure and function and how does that relate to the sound

What Makes the Sound Louder

Asked by: hadarmo2

Quality Tone - Fingers and Arms

Asked by: markeog

Elastic Hand - Playing From Within The Key

Melt your hand into the piano and get alive sound

Chopin - Nocturne Op 48 No 1

Entire, unedited lesson on Chopin's Nocturne

Musical Aesthetics and Technique Part 2

Part 2 and a small q&a session

Proactive Hand

We talk about the arch, the thumb, standing up and proactive hand

Alive Sound

Alan talks about the arch, arm weight, how to make sound alive