Proper Piano Technique
Proper Piano Technique
Notes from Irina Gorin’s Introduction to Piano Pedagogy
https://www.youtube.com/watch?v=t3dfZo1zqAY&t=1245s
Unified Modern Piano Technique
- The basis of technique is the sound - make MUSIC, not noise!
- Non-percussive touch: fingers need to be close to the keys and in contact with them before playing – expressive, not percussive
- Weight Application: correct application of weight in the key is essential
- Relaxation: all muscles must be relaxed except those that are directly involved in sound production
- Quiet upper arm and flexible wrist: the flexibility and power of the wrist must be developed
Finger #3 Approach
- Switching from tension to relaxation after a single note to develop a habit of relaxation
- Using the weight of the body and supporting it with (the longest) finger #3, which is in the center of the hand and the end of the arm
- Develop wrist flexibility and healthy arm alignment
- Helping with non-percussive touch and produce beautiful sound from the start
- Proper non-legato
3 stages of non-legato
1. Preparatory: breathe in, wrist up
2. Main: breathe out, gently drop natural body weight in the key, supported by a finger
3. Final: breathe in, release tension
THE BELOW IS BAD: LEADS TO TENDINITUS (REPETITIVE STRESS INJURY)
- Collapsed arch
- Stiff wrist
- Collapsed fingers
- Flat finger #5 leaning on its side
- Thumb flat and on its side
- Overcurved fingers stretched
Learning styles: children vs adults
- Children EXPERIENCE: intuitive, subconscious, imaginative learning through touch, vision, sounds
- Adults UNDERSTAND: explanation, demonstration, conscious, logic
Pianists cannot play with isolated fingers only; we must use our arms and body weight to support our fingers.
The terms “children” and “childhood” weren’t used until the mid-19th century. Children were not considered to be their own beings but were “mini adults” (wore adult clothes, did adult chores). Hence, music wasn’t written for children, but for mini adults: “Little Preludes” or “Sonatinas”.
Schumann and Tchaikovsky were the first to write music for and about children, but still not in order of difficulty or with specific technique.