The question was about the Rachmaninoff concerto but can it be applied to anything?
Kemal focuses on explaining how different sounds can bring out a variety of different characters
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?
Exploration of the sound is incredibly important piece of the puzzle.
This is what it's all really about
Working on a specific touch that works for entire etude
Series wrapup. And we also talk about that magic in sound that means a difference
And the hand organisation that allows it
We are in search of that specific D major bubbly sound
Asked by: ingela
Alan explains the real mechanics behind the arm weight technique
Expression arises out of physical relationship with the piano
Flat palm for different tone quality
Feel the string vibration
Book II, Prelude No. 8
No weight of the arm interfering with "dancing" with the notes
Use the arch and nullify the uglu down forces and get the healty tone
Intimate contact with the keys, playing with the palm
Alan talks about antigravity function, how to use it and get that springy, pure quality tone
You stop moving the wrist and music acquires this static quality
Alan helps Luba get into this piece