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PIANO TECHNIQUE DEMYSTIFIED

Playing the Piano is Easy and Doesn't Hurt! Learn how to solve technical
problems in Bach, Mozart, Beethoven, Chopin and all the other composers you want
to play. Reconsider whether to spend time on exercises and etudes or music.
Discover ways to avoid discomfort and injury and at the same time increase
learning efficiency. How are fast octaves managed without strain? How are leaps
achieved without seeming to move? And listen to great pianists of the past.




PAGES

 * Home
 * About This Blog
 * About Me
 * Home
 * Useful Links
 * Listen
 * iDemos



> > 
> 
> “Music is a moral law. It gives a soul to the universe, wings to the mind,
> flight to the imagination, a charm to sadness, and life to everything. It is
> the essence of order, and leads to all that is good, just and beautiful, of
> which it is the invisible, but nevertheless dazzling, passionate, and eternal
> form.” Plato







SUNDAY, MARCH 19, 2023


THE FOREARM AND THE PIANO: A CRUCIAL RELATIONSHIP



     


   I once remarked in a piano forum that it was impossible to play the piano
without using forearm rotation. It seemed to me to be a statement of the
obvious, and I expected responses along the lines of "duh." Well, to my surprise
and dismay, a rather accomplished pianist (and teacher!) chimed in "you've been
brainwashed," and stated that it is in fact quite possible to play the piano
without using the forearm. 






    Setting aside for a moment the absurd notion that the forearm is not
attached to the hand and not part of the playing apparatus, I suggested an
experiment. Drop your arm to your side, I said. (Presumably the forearm and
fingers would join in the gesture.) Now do only one thing: raise the apparatus
up from the elbow. No, just raise the arm and do nothing else. I call this the
karate-chop position. I challenge you to play the piano in that position.






    Well, there was agreement that it would in fact be necessary to turn—rotate—
the hand toward the thumb in order to actually land on the keys in, say, a
five-finger position. As we play, I continued, the forearm remains active in
various ways, both obvious and so subtle as to be virtually invisible.
Understanding how it aids in effortless virtuosity is at the core of our study.
All of this, of course, would be too detailed for discussion in the forum.
However, you, gentle reader, have the option of clicking on the tab iDemos at
the top of the page. You could also have a look at "Piano Technique Demystified:
Insights into Problem Solving." (I know, a shameless plug.)
    Finally, our discussion showed that it is possible to play the piano with
little or no understanding of what is actually taking place underneath or within
a technique. Without understanding forearm rotation, though, there
will likely be some limitation—reduced facility, fatigue, discomfort,
inaccuracy. Given the option of knowing or not knowing, I choose to know, and in
so doing use the playing apparatus in the way it was designed to be used. 










                Piano Technique Demystified: Insights Into Problem Solving




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SUNDAY, MARCH 12, 2023


LEAPS: EASY-PEASY



  

Frederick Chopin

     A student brought in this soulful nocturne, Op. 27, No. 1, the companion to
the famous D-flat, No. 2 of the same opus. He observed that it's not as simple
as it at first appears. Naturally, I took up my post as devil's advocate and
asked what if we knew at a glance what the piece required technically, would it
appear simple? This is another way of saying nothing is difficult if you know
how, and learning how is, fortunately, the purpose of this blog.
     My student pointed to the leaping left hand in the  three-four section
marked appassionato: 



Chopin Nocturne, Op. 27, No. 1
(Click on example to enlarge.)



When leaping, always be sure to notice
 if there's water in the pool. That is, practice the landing.

The first issue to consider is how to group the left-hand triplets. Instead of
thinking 10ths, start each group with the thumb and continue thinking octaves.
Always when leaping back and forth take care to group notes in such a way as to
avoid feeling as if the arm is going in two directions. In speed this can cause
a jamming of the forearm, a condition I call lockjaw of the arm (lockarm?) In
this case we start with the thumb to 5 and allow the hand to fall back from 5,
passively, to the new thumb. In measure 5 of the example, it's possible to take
that last left-hand E-flat in the right hand, although not really necessary.
Remember, there is a continual broadening (sostenuto). On the downbeat of
measure 6, I take the left-hand A-flat with the right hand.

     But wait! There's more! My student had another question. What about
the forte section before that? Where the stretto begins? This is another
left-hand leaping issue:

Chopin Nocturne Op. 27, No. 1
(Click on example to enlarge.)

Leaping is easy when you have a running
 start,  when you consider how to do it.

   This one is a little harder to describe in words without demonstrating, but
I'll try. Notice that most of each measure lies more or less under the hand, if
we also shape to the wider intervals as they occur. These notes may be
considered a group. The octave represents a separate voice and lies outside of
the group of triplets. The technique is a combination of a leap from the octave
by means of a pluck, or springing action, and a slight rotation toward the
thumb. That is, the 5th finger is like a hinge from which the 3rd finger rotates
toward its landing place on the F-double sharp. The feeling is of 5 moving to 3.
Once the hand is balanced with 3 on its note, it plays the neighboring notes in
succession before opening to accommodate the ever widening intervals played by
the thumb. Take care that the hand doesn't remain in an open position.
     The last left-hand note in measure one sends the hand to the following
octave by means of a pluck and a rotation. This time 3 is the hinge, which
allows the hand to open to the left and land on the octave. The feeling is 3
moving to thumb. Give the octave a little time. By that I mean go to it as if
you plan to stay on it, which of course you won't. 








































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THURSDAY, FEBRUARY 2, 2023


LEGATO AT THE PIANO: IS THERE AN ILLUSIONIST IN THE HOUSE?



      


    A pianist writes asking for clarification regarding my views on
producing legato at the piano. I have in the past startled the unwary by stating
that legato on the piano is in fact an illusion. The piano is a percussion
instrument. Sorry. That's a fact. It's about physics. (I shall now take cover
under my very sturdy Mason and Hamlin BB, built in 1926 and weighing more than
1000 pounds.)
          We can create whatever imagery we like in order to help with our
illusions—imagination is good—but the fact remains, a hammer hits a wire. That's
percussive—not quite on the order of a snare drum, but, well you get the
picture. The wire vibrates, which in turn causes the air around it to vibrate
sympathetically. This vibrating air is what tickles our ears.
    A young pianist in a forum once pounced on me for stating that the piano was
a percussion instrument. She remarked that I could, if I wanted, have a cadre of
carpenters with hammers banging away inside my piano, but she had instead the
Mormon Tabernacle choir and the strings of the Philadelphia Orchestra in hers. I
thought this was quite funny and a very good description of how imagery can help
us shape the quality of the sound we want to hear. Physics be damned.
     Some pianists, even distinguished ones—I'm thinking now of Alfred
Brendel—feel that by wiggling the finger on the key surface after striking it, a
sort of pitched vibrato occurs, a violin-like effect. The hope is, as I
understand it, that the sound will have more warmth and perhaps seem more
connected to the next pitch. I'm sorry to have to report that only the key
wiggles in its bed; the hammer has done its job and moved away. Once the  hammer
has struck the string, only God can change it, that is, until we release it.
Some may argue that it's the intention of the attack that counts. If the key is
depressed with the intention of vibrating afterwards, the sound may be affected.
This argument seems weak to me.
     Side note: Years ago (meaning half a century), I had the opportunity to
hear my piano teacher, Muriel Kerr, play the Brahms 

Jascha Heifetz, violin

C Minor Piano Quartet with Heifetz, Primrose and Piatigorsky. For my younger
readers, they were the superstar string players of the 20th century. It was my
first time hearing the work, and I was, of course, stunned by its drama and
lyricism. Not long after that, I found myself engaged for a 

William Primrose, viola

performance of the same piece and, looking at the score for the first time, I
noticed that the piano starts with a forte octave tied over two bars with
a diminuendo to piano for the entrance of the strings.  This diminuendo must
take place in tempo, an Allegro non troppo. So I puzzled over how to make a
quicker diminuendo. You've probably already guessed the answer. 

Gregor Piatigorsky, cello

Inexperienced as I was, though, I had to ask Miss Kerr. She was glad to oblige,
and with a giggle, struck the octaves and allowed them to ring for most of the
first measure, then  released the keys part way and fluttered the pedal for the 

Muriel Kerr, piano

remaining three beats, releasing the keys even more. It was a
perfect diminuendo from forte to piano in exactly the right amount of time,
controlled by the pianist. No need to bother God about it.
      Now back to our regularly scheduled topic.
      I have written about producing the illusion of legato on the piano by, for
example, playing into the decay of each successive note. This is perhaps the
closest we can come to the sort of legato a string player can manage, or a
singer. Of course, though, this approach produces a pronounced diminuendo, which
is not always the desired effect. 
     My correspondent quotes Samuil Feinberg's book, which  "argues that the
acoustical illusion of legato has actually more to do with joining together the
initial sounds (the immediate sound of the attack), rather than their decay,
because if not, he argues, all legato would be diminuendo. And so then, how do
you create illusion of legato in a crescendo cantabile line." This is the
question we deal with on a daily basis. Feinberg solves this dilemma by "joining
the beginnings of each sound, or at least the memory of it."
     Exactly right. Music is not a democracy. Every note does not get an equal
vote. Feinberg is right. I call this the hierarchy of notes. We must have the
musical idea of the line in mind as we play the first note. What are the dynamic
relationships?  In a lyrical crescendo, each attack of each successive note
must be louder in relation to the initial attack of the previous note. 
      I think the manner of attack is the most important issue in a moving
legato line, that is, play from the key, minimizing downward speed of the key.
This removes much of the "attack," but we can still control the dynamic with
weight. When Feinberg states that legato is the result of "joining initial
sounds," I think he is referring to hierarchy, or put another way, the audible
shape of a line. If we take care to control each dynamic ascent in the right
relationship to the initial attack of the previous one, controlling the speed of
descent into the keybed, a convincing facsimile of legato occurs. Imagine a
string of beads in which each bead is graduated from smaller to larger in
carefully managed increments.


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FRIDAY, JANUARY 27, 2023


SIGHT-READING AT THE PIANO: AN ACQUIRED SKILL



     

     My student wants to play chamber music, but doesn't trust his sight-reading
skills. They are in fact, he says, non-existent. He is not a born sight reader,
but his ear is good. I've found over the years that most pianists are proficient
in one, but not both of these skills. Of course, there are a few who have both
skills. We are allowed to dislike these people very much.
      When someone is a good sight-reader, it means they are able to bring the
score to life at first look, 


making it sound like the piece. Some pianists, I've noticed, think that
sight-reading means being able to read music. If one can read music, of course,
one is using the eyes to do so. But poking out notes a few at a time is not
what I call sight reading. A good sight reader learns to automatically associate
the passage on the page with its location on the keyboard without passing
through the intellect. This is the crux of sight reading.
     Now for an about face. There is really no such thing as sight reading, that
is if one has at least some experience with notation. By that I mean the


process of reading music fluently can be reduced to simply recognizing a finite
(probably?) number of patterns, repeated over and over again in various
permutations. I know, this is not really very helpful. There are, however,
exercise volumes addressing this very concept, deadly dull, mind-numbing whole
pages of patterns to play repeatedly. Never mind. You don't need them.
     But do learn to recognize patterns. Our common practice music is made up
largely of 


scales and arpeggios. Look for these. Our music is also largely made up
of tertian harmony, so learn to feel shapes of chords and their inversions. This
will help with Alberti figures, too. 
     If you want to systematically work to improve your sight-reading skill,
here is a plan:

     1. Do it. Every day. Set aside ten minutes of practice time. Really. Every
day. I know it is not satisfying to have to do something that seems 


incomplete. Keep scores handy that are much easier than you are capable of
actually playing. A hymnal is a good place to start, as hymns are mostly
homophonic. Or Anna Magdalena Song Book. Or easier sonatinas or other
Classical-era teaching pieces.
     2. Scan. Before beginning, look through the piece. Look for any surprises,
i.e., change of key or meter, technical challenges. I do this myself  when
someone hands me something I don't know.
     3. Tempo. Decide on a tempo that 


accommodates the quickest note values.
     4. Continue. Begin to play keeping track of the pulses and don't vary. If
something goes wrong, don't stop. Go on to the next beat or the next measure. If
this happens often, the tempo may be too fast.
     5. Focus. Keep eyes on the page and don't look down. There are many great
blind pianists, so we know it is not necessary to look at our hands. Did I say
keep eyes on the page? This is important.
     6. Anticipate. As you are already keeping eyes on the page anyway, you
might as well look ahead. It doesn't help to continue to stare at what you've
just played. This is particularly wise at ends of lines.
     7. Find a partner to read with. This is a good 


way to force yourself to continue. A partner who reads well and is willing to
play simpler music with you is ideal. There are also collections of
teacher/student four-hand pieces. (I've published some of these myself for just
this purpose. Look for them in the column at the right.)
     For this study, it is okay to "sight read" the selection two or three
times. And as always, try to see everything—dynamics, articulation—and enjoy the
music.
      

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WEDNESDAY, JANUARY 25, 2023


CHOPIN NOCTURNE IN C-SHARP MINOR: LEAPS OF FAITH



 

Frederick Chopin

     A student brought in this soulful nocturne, Op. 27, No. 1, the companion to
the famous D-flat, No. 2 of the same opus. He observed that it's not as simple
as it at first appears. Naturally, I took up my post as devil's advocate and
asked what if we knew at a glance what the piece required technically, would it
appear simple? This is another way of saying nothing is difficult if you know
how, and learning how is, fortunately, the purpose of this blog.
     My student pointed to the leaping left hand in the  three-four section
marked appassionato: 



Chopin Nocturne, Op. 27, No. 1
(Click on example to enlarge.)



When leaping, always be sure to notice
 if there's water in the pool. That is, practice the landing.

The first issue to consider is how to group the left-hand triplets. Instead of
thinking 10ths, start each group with the thumb and continue thinking octaves.
Always when leaping back and forth take care to group notes in such a way as to
avoid feeling as if the arm is going in two directions. In speed this can cause
a jamming of the forearm, a condition I call lockjaw of the arm (lockarm?) In
this case we start with the thumb to 5 and allow the hand to fall back from 5,
passively, to the new thumb. In measure 5 of the example, it's possible to take
that last left-hand E-flat in the right hand, although not really necessary.
Remember, there is a continual broadening (sostenuto). On the downbeat of
measure 6, I take the left-hand A-flat with the right hand.

     But wait! There's more! My student had another question. What about
the forte section before that? Where the stretto begins? This is another
left-hand leaping issue:

Chopin Nocturne Op. 27, No. 1
(Click on example to enlarge.)

Leaping is easy when you have a running
 start,  when you consider how to do it.

This one is a little harder to describe in words without demonstrating, but I'll
try. Notice that most of each measure lies more or less under the hand, if we
also shape to the wider intervals as they occur. These notes may be considered a
group. The octave represents a separate voice and lies outside of the group of
triplets. The technique is a combination of a leap from the octave by means of a
pluck, or springing action, and a slight rotation toward the thumb. That is, the
5th finger is like a hinge from which the 3rd finger rotates toward its landing
place on the F-double sharp. The feeling is of 5 moving to 3. Once the hand is
balanced with 3 on its note, it plays the neighboring notes in succession before
opening to accommodate the ever widening intervals played by the thumb. Take
care that the hand doesn't remain in an open position.
     The last left-hand note in measure one sends the hand to the following
octave by means of a pluck and a rotation. This time 3 is the hinge, which
allows the hand to open to the left and land on the octave. The feeling is 3
moving to thumb. Give the octave a little time. By that I mean go to it as if
you plan to stay on it, which of course you won't. 









































Posted by Neil Stannard at 9:01 AM No comments:
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SUNDAY, JANUARY 22, 2023


BUMPY SCALES ON THE PIANO






     A student writes: "I have noticed that if (during practice) scales or runs
begin to feel a bit uneven or bumpy, this can often be corrected by playing the
scale or run up and down four octaves at a moderate tempo while randomly
stopping momentarily just before playing a particular note (i.e. stopping short
and then continuing without any preconceived pattern in mind). The “stopped”
finger (the one that would play next) is held back from playing for a
quarter-note rest, and then I continue on for a few more notes before stopping
again with another finger, etc.

     My best guess is that the sudden stopping of a finger and then releasing it
has the effect of contracting and then releasing opposing muscles that I was
allowing to tense up.  This random-stoppage approach seems to add something to
the rag-doll relaxation-and-shake-out approach to creeping tension."

     Without seeing what he is doing, it is difficult to diagnose the unevenness
of his scales. What he describes as a remedy strikes me as arbitrary and perhaps
less reasonable than examining underlying causes. 
     


     Usually "bumpiness" is the result of a misunderstanding of how the thumb
works in crossing. When anticipating a thumb crossing, allow the thumb to
hang—yes, hang—behind the next finger. It should hang more or less behind the
finger that is playing. Also, he should allow the forearm to move at an angle
behind the playing finger in the direction of the music. This puts the playing
apparatus in a perfect position to play the thumb rotationally. 
     But first, he should make sure that he is really completing each note of
the scale before going on to the next. This is an opportunity to review
basic forearm rotation. If the weight of the forearm is really transferred to
each note as if walking, and if his fingers are each "at rest" at the bottom of
the key, evenness should come easily. Feel the rotation a little exaggerated at
first, but then in speed don't think of it at all. I know, this is what confuses
a lot of people. In speed we rely more on shaping and the "memory" of the
sensation of completing each note.

     There are video demos under the iDemo tab above. For more on this and other
topics have a look at:



                         Piano Technique Demystified



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GUIDED SIGHT-READING PRACTICE AT THE PIANO





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ALL BOOKS ALSO AVAILABLE HERE (AND FROM YOUR LOCAL BOOK SELLER):

 * Piano Technique Demystified: Insights into Problem Solving
 * The Pianist's Guide to Practical Scales and Arpeggios
 * The Collaborative Pianist's Guide to Practical Technique
 * The Pianist's Guide to Practical Technique, Vols. I & II
 * The Pianist's Guide to Practical Technique, Vol. 1
 * The Pianist's Guide to Practical Technique, Vol. II
 * Guided SightpReading Practice at the Piano
 * The Art of the Fugue by J.S. Bach: More Sight-Reading Practice




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