Відео

Hello. The channel is about to launch a series of shorts to help pianists while they practice. Managing this content is a delicate matter when dealing with repetitions and injuries. Thanks anyways for your offer.

@@thechopinmethod7257 Amazing! Good luck on your shorts, I hope to see this channel grow exponentially.

Hello Cornelia. Thank you for commenting. Unless you have a medical condition, which may be worth assessing, please consider that neuromuscular changes are gradual and take time. A key aspect is that the training has to be done properly and mindfully. The reward is truly satisfactory. Best!

Hi Kyrion. Modern pianos have indeed increased key inertia/weight. One reason to this may relate to what you suggest: XX century music is more percussive, metallic and audience oriented. For Chopin, the fingers had enough to say by themselves. If properly trained, they could flex down a the key with exquisite control. Ultimately, a piano hammer control. The elbows and the rest of the body completely flexible and resting on a skeletal support. Consistent with this, playing and enjoying playing can go on for hours and hours.

Hello and thank you for your important question. The fingers should indeed be positioned touching and sensing the surface of the target key. Even forte and virtuoso passages should be learned with this in mind. There are major advantages: finger positioning sensing, key positioning, finger stand-by neural stage, finger intention planning. All this brings sound control and the unsurpassable satisfaction of moment creation.

What about the fingers that are not being used to play any notes the piano for a specific portion of the piece? For example, in the first 4 bars of Rondo alla turca by Mozart, Finger 5 in right hand is not used. So should Finger 5 still rest on the piano keys or not? Also, thank you for your response.

Yes, finger 5 should rest touching and sensing the surface of the keys, even if dragged laterally. The special curvature of the 5th finger must be observed.

Can I also ask you about whether or not chopin encouraged training finger independence or not where, and why? Also, thanks for your response.

Hello. Thank you for your question. A beginner who is serious about learning classical piano should get, if feasible, a good grand piano. If not, at least a piano with hammers, tuned and well regulated action. Electronic pianos, unfortunately, sound nice no matter how badly the playing. The support stage therefore has more to do with supporting the weight of the hand-forearm system than the piano key action. Cheers!

@@thechopinmethod7257 thank you sir for your insights on this. It’s not feasible for me to get a grand piano at this stage. But what I’m inferring from your response (and that’s exciting), is that I could possibly work in strengthening my support stage. I can feel now thanks to you how weak my fingers are, they can barely support any weight. What an exciting personal revelation for me! Are there exercises or ways you recommend for us to strengthen support stage outside of playing piano? Appreciate you much!

Hi. Being aware of the support stage of a finger playing the piano is a good beginning. During the support stage, you can also check several things. Among them, that you are really supporting using the natural bone arch of the fingers, and that all other body articulations are free and elastic.

Grazie. Nella configurazione offerta da YT sono 20 le lingue disponibili per i sostituti. L’italiano, ovviamente, è uno di questi. Best!

That is good to hear! Thanks!

Thank you!

Thank you!

Hello Bjorn. Thanks for asking! Indeed, when taking the Ètudes as a reference, we are just beginning to cover piano technique. However, this doesn't change the order of the fundamentals. The fingers begin the action and every other movement is a consequence. This ordering is frequently misunderstood and substituted for forearm rotations as simultaneous or main drivers of the action. They are a consequence just as the movements of the hips are a consequence of walking.

De nada

Muchas gracias. Saludos.

Grazie mille!

Gracias!

Gracias a Ud.

:)

😂😂. A battle is raging between the pro-and contra rotationalists. Imo, there is always some invisible suppination support when playing with the 5th finger which transforms into invisible pronation support when passing over to the 1st or 2nd finger. This happens automatically and unconsciously I think. Maybe the word rotation leads to misunderstanding and should be changed into invisible suppination/pronation support?

Hello! Perhaps the main breakthrough in Chopin's technique is his calling that the finger should be the trigger of all action. From a modern science point of view, this also makes sense. The finger is a 100-150 grams appendix commanded by very fast intrinsic muscles in the hand. On the contrary, initiating movement with other body parts comes with more mass and the use of bulky and/or slower muscles. Of concern, finger may underdevelop speed, proper articulation and control. Thank you for commenting.

Indeed! There is supination (ulnar) support when playing F5 as well as pronation (radial) support when playing F1. An important consideration here is that support occurs at the bottom of the key. The initial action of flexing a finger from its MCP articulation is the responsibility of intrinsic muscles in the hand. Thanks for commenting!

Thank you for the extra information! Yes good that you mention that this ulnar and radial support it takes place at the bottom of the key.

@@thechopinmethod7257 Am I correct for assuming that pronation and supination should follow the placement of a finger in order to provide support and eliminate tension?

20th Century pianists, and specially today's, tend to adjust their technique and their movements to communicate with a watching audience in large theatres. Unfortunately, most of them get injured at some point in their career. Best!

@@thechopinmethod7257 Honestly an unexpected answer. But thank you for that.

By all means, go ahead! Thanks for watching.

Thank you for watching!

Thank you!

That is so delightful to hear. Thank you.

Glad you liked it! Cheers!

Sup

Yes

Liszt préconisait de jouer haut pour moins avoir besoin de lever les doigts et donc économiser de la fatigue … Gould par contre était assis très bas… Où est la vérité ??

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Hell yeah 🔥🔥💯☝🏻

😂😂

Can someone explain this meme i don't get it

Thank you very much for your kind comment.

Hello Tvaroh. Fingers 2, 3 and 4 certainly need to flex further when playing the lower white keys, but they shouldn't loose their bone arch structure.

I believe that Chopin had a closer relationship with the piano hammer than with the keys. The key weight, under this view, should facilitate this communication. To answer your question, who knows if he might have liked listening to the new sounds.

Hello. The whole intention of this channel is to make available Chopin's ideas in a didactic manner. Other than that, you can obtain J.J Eigeldinger's book Chopin seen by his pupils. It is a wonderful compilation. Best!

is the book named Chopin pianist and teacher? i had bought it last month hah, thank you really much🥰@@thechopinmethod7257

Hello. You can activate the subtitle option and chose from 10 different languages. Hope this helps! Thanks for visiting.