Well organized hands...
Mastery in playing the piano...
How to obtain all this practically?
F. Chopin (1810 - 1849) All of us perfectly know - how great composer and pianist he actually was. Though, unfortunately very few pianists know how great he was as a teacher, too.
Are you sure - the musical idea factually determines the quality of each one sound in your everyday practicing?
Modernly thinking, one must be sure that the deficiency of particular sounding object (a specific quality of the sound) that can persistently be a watched in playing, causes impossibility to achieve the competent piano technique. We should remember, of course, we need the well-working hands - but as well we need well-sharpened hearing, creative fantasy and the truly active intellect.
A touch of professional quality will never be born without professionally trained ears. The careful self-control, realized by precise hearing - is a cornerstone of the whole matter.
Who does NOT believe in effectiveness of such approach, he/she - apart from the Neuhaus' famous book - ought to become acquainted with Mr. Joseph Hofmann's work and, particularly, with any possible achievable recording of him. Who never heard Hofmann's art of the piano (Kreisleriana!), he would – possibly – never get the proper image about real greatness of our unrivaled instrument.
Are you sure - you could frankly say, in your playing the fingers just convey the hand's weight in such a way, that this load fluently moves on the keyboard's being moved like a good cellist's bow and being the hidden source of dynamic power of the fingers?
Are you sure - you do not must hold yours hands in the air, really?
Each one of us should be assured yet that even if we use the most accurate kind of motions, it means only that the physical, i.e. external components of playing become properly arranged.
"All technique originates in the art of touch and returns to it"! Both greatest piano giants - Chopin and Liszt - were of the exactly equal opinion.
F. Liszt (1811 - 1886) was one of the greatest masters in history of the piano. Though, the very few teachers know that his teaching method at the beginning of his pedagogical work was nearly formal. Just later, in his mature era he forgot the hands as a particular problem and started just taught music activating his students' musicality...
Every player must pay homage to real beauty and value of the sounding result of ones work: the artistic substance has to be put into every one sound. The pure reproducing of notes, signs and other external elements is not enough for us: such an activity tires and bores only!
So, at first one must find the sound "that sings better", filled it up with the artistically meaningful idea and with some drops of natural human's emotion as well. The proper way to really joyful and effective piano playing, maybe, starts from this point; well, I am quite sure. Yes!
To find the sound "that sings better" - actually, seeing the problem from its touchable side, should mean: to find the proper energetic balance inside the working hands - which is possible in such a case only, if the co-operation between hands, fantasy and ears - really works very well (Earl Wild).
As we know: the very common mistake in playing the piano - is to use the whole arms or the major parts of them for the fulfillment of many delicate duties that require the small and mobile instruments (as the fingers are). As the result of such a rude mistake reveals the fingers' weakness and, as a side effect, comes inactivity of artistic fantasy...
You are getting a real chance to overcome majority of yours actual piano troubles now!
Prof. H. Neuhaus (1888 - 1964), in fact, was the only teacher in a whole history of modern piano teaching, who essentially knew, how great the Chopin's Method was, and only one as well, who used it in its full extend.
Let you have a look around the introductory problems' catalogue - as they could be seen from the genuine Chopin & Neuhaus' point of view:
The most common mistake in manual aspects of playing the piano is: to use the whole arms or the major parts of them for the fulfillment of very delicate duties that normally require approximately small, well-developed and mobile instruments (as the fingers are).
Are you sure - you really do not do such errors?
Do you know that in Chopin's playing just the fingers have activated the whole arm...? "The fingers and the palm ought to act together as a well-integrated system" - one must clearly understand the sense of rational division of roles and competencies inside the working hands.
Are you sure, you build yours piano technique in accordance to this incontestable Chopin's rule?
Are you sure, again - the musical idea FACTUALLY determines the quality of each one sound in your everyday practicing?
Seriously thinking about real improvement of our piano instrumental technique, we firstly should become convinced that, seeing the problem from its most real side and truly exactly said, the artistic poverty FACTUALLY causes the immobility of fingers...!
Just after getting informed about real image of the actual situation, one could start to look after the proper help in ones piano studies...
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