Arm weight with arm skeleton
Piano is a percussion instrument. What kind of sound we get back depents of a kind of touch we provide
And use our ears and play the music
It also depends on what kind of sound you are going for
Kind of a rudimentary question but often neglected.
Drop weight or stand up?
Alan is taking ideas from Feldenkrais and applying it to piano technique
This feeling has to become a second nature when playing the piano
Part 3 - Rachmaninov Prelude Op.32 No.12 in G sharp minor
Guild your forearm as if you were conducting an orchestra
Using the wrist to inflect the music, to form the music
For a live, vibrant sound
Not only that but the very solid foundation on what you should base your piano technique
You are giving yourself completely different sonority
and it's not done with curled fingers
You need to know how
Standing exercise
Wrist and strength adjustment for the instant great sound
The wrist always wants to be the important one, let the MCP do the work
The wrist always wants to be the important one, let the MCP do the work
Character of the music dictates the touch
An hour long lesson on this prelude with emphasis on big sound
Pianimals teachers exercise 26
Pianimals teachers exercise 25
The body is moving and floating freely and the sound is great
Slide is the reflection of the horizontal nature of the tone. Do not lock your body
Two way exchange between the player and piano is what we are after
Send the energy in the right way
We are talking about the controlling the keyboard and sound production and Alan claims it all happens before we even play
Ever wondered if something was missing in your playing but you couldn't pin it down?
Alan is explaining how to create open, singing sound
to make your conception actually sound
Exploration of the sound is incredibly important piece of the puzzle.
A special technique for not only more articulate playing but really healthy sound as well
Series wrapup. And we also talk about that magic in sound that means a difference
And the hand organisation that allows it
No matter what you think about the music or the score, it really needs to sound/resonate/vibrate..
Asked by: ingela
Alan explains the real mechanics behind the arm weight technique
Expression arises out of physical relationship with the piano
We are working on left hand arpeggios
Liszt-WIlde Jagt-Transcendental Etude
We are talking about the structure and Kemal points out that everything played must really sound well
Structured vs relaxed hand and the sound we get (bone connections
Go to the hypermeasure without losing any of the subordinate rhythmic patterns
We are moving through the piece and talking about the sound differentation, layers
Alan talks about the beginning of his work with Kemal
Book II, Prelude No. 8
Perceiving more "up" than "down"
By going up instead of down
No weight of the arm interfering with "dancing" with the notes
Working with the keys, not against them and making the strings vibrate the right way
We are covering dolce appassionato and presto sections and talking about the character, harmonies..
Asked by: markeog
Extreme Voicing opens up he sound of the piano, and the arch should be elastic
Use the arch and nullify the uglu down forces and get the healty tone
Intimate contact with the keys, playing with the palm
Alan shows how to get that rich full sound out of the piano
Alan and Luba are looking into very deep emotions, feeling of despondency in the main theme
We are exploring that touch and that feeling of 'tunneling the keys' in order to get the sound we want
You stop moving the wrist and music acquires this static quality
Alan wants to hear all the voices and brings out more peculiarities of Debussy's composing style
We are beginning our journey into decoding Schumann
The difference between solidifying the structure/internal movement and the sound we get by doing so
Today we are talking about inner organization of the hand in order to archive a special quality of sound
Alan shows a wrist movement totally opposite from what you would expect
Kemal is looking for a specific dirty sound and explains the difference between accents and non accents
We are trying to understand and decipher that specific sound
Alan explains how to balance out the sound, soundboard and Horowitz
Another recent lesson with a focus on the thumb, orchestration and sound
We are talking about phrasing, sound, horizontal playing..
Valuable info on orchestration, sound, performance...
Alan is heloing Remon get a great sound and become one with the piano
Alan works with a young student and explains the propper technique
Functional standing that gives us the quality tone
Hand's structure and function and how does that relate to the sound
Asked by: hadarmo2
Asked by: markeog
Melt your hand into the piano and get alive sound
Entire, unedited lesson on Chopin's Nocturne
Part 2 and a small q&a session
We talk about the arch, the thumb, standing up and proactive hand
Alan talks about the arch, arm weight, how to make sound alive
