Integrated Hands and Touches

It all begins with touch, this is where the communication between us and the instrument starts.

By Alan Fraser

17 Lessons

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SERIES LESSONS

Watch, Learn and Practice!

1

The Interchange Between Sound and the Feelings

The initial point of touch, fingertip and the key

2

Hand Organized to Maniplate the Key

Reactivating middle finger joints

3

Hooking in Never Compromises the Good Organisation

of MCP joint/s

4

No Strain in Your Sound

White muscles at work and cultivating this kind of sound

5

Reducing the Muscular Effort

Freeing ourselves from too much muscular input

6

The Problem All The Pianists Generally Have

Functional MCP that is

7

Fingertip Dropping into the Key

And as it drops the hipjoint rises

8

The Functional Solution for the Thumb Problem

Thinking of the shape of the structure instead of the movement of the structure

9

Who Is Right? Chopin or the Physicists?

The link between piano Technique and music making

10

The Integrated Hand and Rhythmic Patterns

Free fingers and rhythmic patterns in left hand

11

The Slap Bass Technique

We are looking into a specific use case in the left hand

12

The Context Dictates the Technique We are Going to Use

Resolve musical challenges first. Curled fingers

13

Musical Challenge Gave You the Hand You Want

Wrap up of lesson two of this amazing session with Hanno.

14

Go Back to the Fingers and Start Curling

Once your hand structure is solid, go back to the fingers and establish the point of contact

15

Responsive Hand With Bee Sting Relationship

Specific quality of sound with curled fingers

16

The Feet Are Stabilizers but Do Not Exert Force

A connection that gives a feeling of stability without any force

17

Gravity is Putting the Down Force

We need to put/provide the up force and balance those two