@@cooltrades7469 If you ever bothered to listen to any of gould's recordings you'd know that he doesn't just play strictly staccato. There's always a delicate balance between crisp and punchy, and soft legato. It's one of the many techniques he uses to accentuate his counterpoint, as it becomes easier to hear the different voices if they're articulated differently
I remember my teacher telling me how she learned this technique from listening to his recordings and observing him. Nice to learn that it was a real thing that his teacher taught to him.
@@corra2585 Haha, it's subjective, I suppose. I'm not even close to approaching the genius of Bach, but the Italian Concerto seems more of a sellout to the modern tastes of the day without the rigor or contrapuntal integrity of his more developed works. I'd imagine it wasn't his proudest works, by his sons would likely have been very pleased at its composition. Several musicologists, including Gould, have suggested that it lacks many of the exceptional trademarks of a Bach contrapunctal piece. My point was that the "finger tapping" method demonstrated in this brief video is not selected from among the works which Gould played with his signature clarity, precision, and insight. As such, the example given does not constitute a fair argument that "finger tapping" alone can account for Gould's transcendental performances. Apples and oranges. Perhaps a sample from the Art of the Fugue. I still stand by "embarrassing" in the sense that not every theme composed by Bach expressed the mind of God. (sorry answer, 哈哈).
ahujeffrey I agree that this example doesn’t really fit the finger tapping technique. But I don’t think that music should be judged on how contrapuntal it is
@@corra2585 You make a fair point. I do agree that Guerrero had an undeniable influence on Gould and his other pupils. I'm just offended that this example was put forth to, in some way, diminish Gould's own incredibly creative and insightful approach to interpretation. Gould focused almost exclusively on contrapunctal works (a preference I share). I still don't feel the comparison is fair or that the example is informative. Gould famously detested the Italian Concerto and Chromatic Fantasy. But, well, he was a unique gift to the music of our lifetime (although I was a toddler when Gould passed away). Ironically, I love the toccatas 😁 . À chacun son goût!
No , he got to that as he only used that special chair, made by his father , God know when, that got worn in time . It was not at that height originally. This would be one thing . Another one would be that no technical aspect translates from a pianist to another for a number of reasons. So just sitting ''under'' the keyboard will not turn you into Gould.
And to be neurodivergent to the point of being an extreme perfectionist, suffer from OCD, and eventually die from complications related to hypochondria. Yeah... it's just one wonderful package. The chair is a nice addition though.
The tapping works. Taught myself a more detached playing as I enjoy Goulds style. I also teach it to my students. But they usually don't understand something so simple makes way for good ergonomics - I love piano pedagogy
He got to that as he only used that special chair, made by his father , God know when, that got worn in time . It was not at that height originally. This is fact. Anyway , you should find your best position and technique. Complaining about some rules who is childish and just an excuse.
Hmm, I was taught to play with my fingers on the keys and to play one note at a time without lifting any of the other fingers. The finger playing the note stayed in contact with the key, I think it is the same without using the other hand to depress the key, very interesting.
Not at all, and she chooses an easy, trite (for Bach) piece that Gould himself publicly despised. The technique has merits, but only Gould had the intellect and intuition to integrate it into his interpretation of Bach. None others compare.
As a non professional/self teacher I felt insane for experimenting with things like this from my own imagination, because I was making progress faster than those who are years ahead of me: Now I know why...They have been taught differently is all. Observation. PIANO COMMENTS ARE ALWAYS WHERE THE GOOD PEOPLE CHAT.
@@Sunkem1Not6Hacks Nah fuck you be original, playing piano should stay creative. Interpret music like you want but not straight up yoink someones ideas.
@@balladin9200 the problem is, how to make the piano sound the way I'd like? I have an idea of the sound I want, but I don't know how to produce it. And that's where teachers and advice are needed.
@@johnstrozzi1126 yeah maybe so but most performers of baroque music on piano feel the need to ruin it with all this expressive garbage and messing with the rythym and essentially playing a Bach peice as if it were Chopin. Glen at least didn’t do that
I can't help but notice that the way she actually plays is very different from the explanation she gives. She is clearly lifting her fingers while playing and in general there is a lot more movement than she shows while she was explaining.
The exercise just shows you how to move your fingers with minimal to zero strain. Of course you have to lift your fingers when you play. How else can you move around the keyboard? The downward motion is the important part. It's the one that produces your sound. And it's where you release the "tension" of lifting your fingers. Ergo, the exercise.
What I mean is she actively lift her fingers to play the notes, not because she is moving her hands. To me feels like she is using a diferent technique than she explained, even tho it was an exemple of what she explained. Seing Glenn playing at the end also doesn't feel like the same technique, a lot of the force to play each note its coming from his the wrist, you can see he is moving and using his wrist for each note he plays, not just to move on the keyboard.
There is as much articulation of a note in the releasing of a note as in the striking of it. And certainly for clavier music prior to the invention of the piano articulation was only differentiated in the releasing of a note - and that is still the case today for pipe organ music.
Try playing that passage on the harpsichord......GG made a silly instrument called the harpsipiano.... The real test of touch on Bach: 3 seconds plying the clavichord......
This practice regime is a good idea but tells only half the story. FTPT doesn't listen for VARIANCE of interonset (key release) timing -- the key (!) to aerated phrasing. (This is why GG's Brahms doesn't work for me.)
@@man0sticks Many pianists would agree that the personality of a piano note owes less to its attack than to its release. FTPT cuts short the last few milliseconds of key release -- and its sound world. But a less abrupt release suspends, ever so slightly, full re-engagement of the damper, both mechanically _and_ sonically. This reprieve affords the player haptic/aural space to explore coloration of the pitch/es involved. See (and hear) Horowitz's "flat" fingers in the video of Scarlatti's B minor Sonata, for instance. Glenn reportedly played with flat fingers on occasion, but his decision not to do so on others was, to my ears, wrongheaded. Take his recording of Brahms, op.76/6; the sound is so choppy, one would think he was naive re: the Schubert- Schumann vocality saturating the late piano pieces. In sum, a non-FTPT release, done well, resembles artful exhalation of the breath in singing and translates to what I call "aerated phrasing" in piano playing, that is, phrasing between note attacks ("interonsets") as well as between periods. Ira B.
sit straight, back upright, elbows at 45deg to the keyboard, hands should be a little higher and your fingers dropping almost like your holding a tennis ball... ALL concert pianists do this
Glenn Gould ended up with enormous tendon problems due to simillar aproach to that...It is not helath because both flexor and extensor muscles are involved at the same time...At the end it brings to unhealth contractures of contrary muscle groups...Hands are not then smooth in movements but reather frozen...
How are the extensors activated when the whole goal is to allow the key to return the finger? Chopin advocated a similar technique, as far as I can tell. Dystonia is little understood, but I would hardly attribute it to this practice.
Michael Tilley I recomend you to read Tilmakins principles of piano technique (if ever translated in english ) and Friedrich Neuhaus ( in russian too ) or Claudio Arrau on the same topic.There you will find that only internalised,it means emotionaly and racionaly understood musical context is able to be played on an instrument with scence.The body searches the shortest and simpliest way to express it because this context is a matter of connection between body and soul.It is nothing so complicated like Gould oh mine,or flexor extensor...In a shortest way of expressing music the flexors are those who contracts,extensors are contrary group that only provides some kind of "natural,anatomic" resistance to make flexors activity borderd...We all know that human hand is not primarly made to play any instrument so we should learn how to eliminate extensors from playing and how to transfer the armweight through the playing hand to the top of the finger in order to support flexing movements of the fingers.Additional problem to solve is releasing tension...These are "technical" problems,the main three...And that is a very very hard process,nothing simmilar to Gould or Lang Lang,as they never understood process what can be obviously heard.
Hi, thanks for the reply. Not sure that we are in that much disagreement. I have read Neuhaus, which is genius, I'll still take Chopin over all of them, or Liszt. You can talk about spirituality all you want, but the spirit is expressed in the touch. First of all, how dare you conflate Gould and Lang Lang and secondly, who would you propose who has a better sound than Gould?
Haha how I dare?When for you metalic Gould sound the best is I should "congratulate" you on your musical taste and education...But I would be generous to you und write you a names of those who you should adress by hearing in order to understand better what is beautiful sound:Gilels,Horowitz,Luganski,Maria Yudina,Maria Grinberg,Idil Biret,Maria Joao Pires,Argerich of course,Pogorelic,Polini,Mazuev,Arrau...Each of them with very natural scence of touch and with unique expression respecting text,sceleton of music (ok Pogorelic is in that scence someone who does not respect text,but his tone is magnificent).Gould that only played Bach and Beethoven-both with very disstorted interpratetaion does not belong according to my opinion to magicians of piano sound.
That you think Gould only played Bach and Beethoven suffices to display your ignorance. I have heard all of the above. You don't even list Sofronitsky, who is better than any of them. Gould was still in a class of his own. He who has ears, let him hear.
agree sounds just like gould; on my research Glenn really doesn't give any sort of gratitude towards guerrero i wonder if there was a falling out. clearly he shaped gould's sound
Sean s yes, Guerrero deserves more attention and gratitude. He was a sort of musical father to him. He also brought him into contact with the repertoire he became famous with, like the Goldberg Variations
i can play the aria nicely and the 1st variation but am trying working on it; i try to borrow this pulling feeling that guerrero instilled with his students
According to most biographies, Gould had conquered the WTC before getting involved more deeply with other tutors. Most of Gould's talent is obviously from God Himself
To play everything with that type of technique it’s quite boring. However to know that type of thing it’s important. It has to be mixed with other types of technique as a legato .....
Legato is a terrible technique for playing Baroque music, it makes the voices muddy and without a voice. Only with such technique can baroque voices be sung and played as they should.
When you have a situation like that, it's best to raise your hands slightly above the keys rather than rest them on the keys. This way, the fingers would naturally go back to rest position after each note.
Is this technique indentified only for used and professional players? My teacher told me, that this technique would kill my fingers and it is supposed to be used only by professionals.
This "technique" is bad and wrong. You want to develop finger independence, yes, but having your fingers PUSHED on does absolutely NOTHING to develop that. You need to actually LIFT and STRIKE with each finger. Pushing on them with your other hand is stupid and not helpful.
No, man. This is really useful, move the fingers without effort can help your nervous system understand how to make this movement with the maximum efficacy. It remember me the Feldenkrais method....
I think there’s something to it. It teaches you what it should feel like, so you search for that feeling when actually playing. But once you do that, you have to actually practice playing with that feeling, which is most of the work.
Wow, sounds just like good ol' Glenn Gould. Cool technique. Crisp and clear articulations.
But not all lines are staccato. He plays step-wise smooth lines the same as detached lines. It's fine for etudes but not pieces of music.
@@davidmdyer838 Jesse what the f are you talking about
@@danielthonk7481 That sometimes phrasing requires ''legatto''. Easy:)))))
@@cooltrades7469 If you ever bothered to listen to any of gould's recordings you'd know that he doesn't just play strictly staccato. There's always a delicate balance between crisp and punchy, and soft legato. It's one of the many techniques he uses to accentuate his counterpoint, as it becomes easier to hear the different voices if they're articulated differently
@@davidmdyer838 That's what I'm thinking when I watch Glen play - he's not using that technique at all!
I remember my teacher telling me how she learned this technique from listening to his recordings and observing him. Nice to learn that it was a real thing that his teacher taught to him.
Haha!! When she started playing I thought suddenly it was Gould playing, it sounds so similar!
cangjie12 only superficially on one of Bach's embarrassing compositions, contrapuntally speaking
ahujeffrey Embarrassing???
@@corra2585 Haha, it's subjective, I suppose. I'm not even close to approaching the genius of Bach, but the Italian Concerto seems more of a sellout to the modern tastes of the day without the rigor or contrapuntal integrity of his more developed works. I'd imagine it wasn't his proudest works, by his sons would likely have been very pleased at its composition. Several musicologists, including Gould, have suggested that it lacks many of the exceptional trademarks of a Bach contrapunctal piece. My point was that the "finger tapping" method demonstrated in this brief video is not selected from among the works which Gould played with his signature clarity, precision, and insight. As such, the example given does not constitute a fair argument that "finger tapping" alone can account for Gould's transcendental performances. Apples and oranges. Perhaps a sample from the Art of the Fugue. I still stand by "embarrassing" in the sense that not every theme composed by Bach expressed the mind of God. (sorry answer, 哈哈).
ahujeffrey I agree that this example doesn’t really fit the finger tapping technique. But I don’t think that music should be judged on how contrapuntal it is
@@corra2585 You make a fair point. I do agree that Guerrero had an undeniable influence on Gould and his other pupils. I'm just offended that this example was put forth to, in some way, diminish Gould's own incredibly creative and insightful approach to interpretation. Gould focused almost exclusively on contrapunctal works (a preference I share). I still don't feel the comparison is fair or that the example is informative. Gould famously detested the Italian Concerto and Chromatic Fantasy. But, well, he was a unique gift to the music of our lifetime (although I was a toddler when Gould passed away). Ironically, I love the toccatas 😁 . À chacun son goût!
Wasn’t just Glenn’s technique-his capacity for daily practice was unmatched
For anyone who's wondering what song this is, it's Bachs Italian Concerto "Allegro" - Glenn Gould at the time 3:13
A beautiful and joyful piece.
thank you for doing what the poster couldn't
The key is to sit as low as Gould did. The technique was special, but the sitting position is the key element.
And the singing.
@@frenchimp And to do a lolly in the mouth, relaxes in the wrist.
No , he got to that as he only used that special chair, made by his father , God know when, that got worn in time . It was not at that height originally. This would be one thing . Another one would be that no technical aspect translates from a pianist to another for a number of reasons. So just sitting ''under'' the keyboard will not turn you into Gould.
Nope, just finger, look Sokolov you can easily understand
And to be neurodivergent to the point of being an extreme perfectionist, suffer from OCD, and eventually die from complications related to hypochondria. Yeah... it's just one wonderful package. The chair is a nice addition though.
The tapping works. Taught myself a more detached playing as I enjoy Goulds style. I also teach it to my students. But they usually don't understand something so simple makes way for good ergonomics - I love piano pedagogy
How can I learn how to do this? thanks!
In another words, Gould play just like her! 😉
This piece of information is such a blessing! I truly appreciate the uploader. Thank you so much! 🎶
Alberto Guerrero, chilean, from my hometown, La Serena. Thanx for sharing.
No tenia la menor idea de esto. Tambien soy Serenese, gran fan de Gould.
Alberto Guerrero es un orgullo hispano. 🏆
Very interesting! You can hear that in his play for sure. Teacher lives on!
Alberto Guerrero from my country Chile✨🇨🇱🤗
El que le enseño era de Chile? Que cool! Supongo que estaba enseñando piano en Canada en ese momento.
Alberto Guerrero es un orgullo hispano. 🏆
why do people have to argue about these little things in the comments, why can't we just come together for our love of classical music
no
@@MakiC fucked ur mom\
Glenn Gould ROCKS!
is anybody else appreciating how casually Glen Gould is sitting? Compare that with the 100+ rules of ergonomic (=stiff) sitting nowadays..
It was very natural and casual to him, but if I try and sit as low as he did my back starts hurting after about 2 minutes, haha
Do what’s best for your playing style
@@joshvigranmusic yea haha his back didn’t age too well
He got to that as he only used that special chair, made by his father , God know when, that got worn in time . It was not at that height originally. This is fact. Anyway , you should find your best position and technique. Complaining about some rules who is childish and just an excuse.
nah, looks like hell for your back. from experience sitting at a computer
Hmm, I was taught to play with my fingers on the keys and to play one note at a time without lifting any of the other fingers. The finger playing the note stayed in contact with the key, I think it is the same without using the other hand to depress the key, very interesting.
wow, she sounds like Gould!
i agree
Not at all, and she chooses an easy, trite (for Bach) piece that Gould himself publicly despised. The technique has merits, but only Gould had the intellect and intuition to integrate it into his interpretation of Bach. None others compare.
ahujeffrey dont see how that is relevant to anything.
@@ahujeffrey Gould plays it like he despises it.
As a non professional/self teacher I felt insane for experimenting with things like this from my own imagination, because I was making progress faster than those who are years ahead of me: Now I know why...They have been taught differently is all.
Observation.
PIANO COMMENTS ARE ALWAYS WHERE THE GOOD PEOPLE CHAT.
Please give me some of your advice. I want your crazy ideas
@@Sunkem1Not6Hacks
Nah fuck you be original, playing piano should stay creative. Interpret music like you want but not straight up yoink someones ideas.
@@balladin9200 the problem is, how to make the piano sound the way I'd like? I have an idea of the sound I want, but I don't know how to produce it. And that's where teachers and advice are needed.
@@liul
If your idea is that crazy then tamper with the piano strings my old teacher used a bunch of objects to alter the sound.
@@balladin9200 I think they want piano technique advice, not compositional ones. The latter is more up my alley.
This makes baroque music sound good on piano
Makes baroque music sounds like shit, everything Gould played sounded the same. He's totally overrated in my opinion.
@@johnstrozzi1126 yeah maybe so but most performers of baroque music on piano feel the need to ruin it with all this expressive garbage and messing with the rythym and essentially playing a Bach peice as if it were Chopin. Glen at least didn’t do that
@@SoggySandwich80 well it's not supposed to sound like a type writer so I disagree
@@johnstrozzi1126 He’s no John Strozzi; that’s for sure!
@@145inA LOL
Me: "I wish I could play like that." Mom: "Wishing won't make you that good."
Miles Davis: "Practice, Motherfucker!"
best one minute video I've watched
Can anyone recommend any of the books on Glenn that address his practice methods? Thanks in advance.
my favorite CDs are the 1955 + 1981 Goldberg Variations recordings --- And watch "32 Short Films about Glenn Gould"
gould was technically just astounding. like usain bolt. not something the average pro pianist can reach by a bit more practice. another level.
I can't help but notice that the way she actually plays is very different from the explanation she gives. She is clearly lifting her fingers while playing and in general there is a lot more movement than she shows while she was explaining.
The exercise just shows you how to move your fingers with minimal to zero strain. Of course you have to lift your fingers when you play. How else can you move around the keyboard? The downward motion is the important part. It's the one that produces your sound. And it's where you release the "tension" of lifting your fingers. Ergo, the exercise.
what are you supposed to do? Drag your fingers all over the keys?
What I mean is she actively lift her fingers to play the notes, not because she is moving her hands. To me feels like she is using a diferent technique than she explained, even tho it was an exemple of what she explained. Seing Glenn playing at the end also doesn't feel like the same technique, a lot of the force to play each note its coming from his the wrist, you can see he is moving and using his wrist for each note he plays, not just to move on the keyboard.
It helps to have double-length fingers!
Can I find some longer better videos how to achieve this technique?
There is this book of Jon Harnun thepracticeofpractice.com/2016/02/16/finding-flow-in-practice-glenn-gould/
No. You are wrong. That technique existed already. Tapping note technique name is "portato"
Or if on a synth, turn the decay and release sliders down 😎
There is as much articulation of a note in the releasing of a note as in the striking of it. And certainly for clavier music prior to the invention of the piano articulation was only differentiated in the releasing of a note - and that is still the case today for pipe organ music.
So cool
I wonder if this technique was a reason Gould wanted to sit very low by the piano (apart from the chair that he loved)
Yes, that's the reason (I think Gould said that)
Anyone know her name and if she cut a record? I like her style.
Very pretty.
Finger tapping is actually a 2 step practicing procedure.
Try playing that passage on the harpsichord......GG made a silly instrument called the harpsipiano....
The real test of touch on Bach: 3 seconds plying the clavichord......
I do this learned from Peter Feuchtwanger but I’m still not sure why I do it.
How is this any different than a staccato?
She does sound like Gould.
Super !!!
Wasn't Mozart doing this also?
Wow, that sounds just like him..
Fabulous!!
This is everything if you’re tryna play Bach
I know this technique from Peter Feuchtwanger. Maybe he was influenced by Guerrero?
it's one way of saving the money to buy a harpsichord
Is Gould crossing his legs?
What did the woman play?
Bach’s Italian Concerto
Gaurav Dabas thanks.
cool! thx
This practice regime is a good idea but tells only half the story. FTPT doesn't listen for VARIANCE of interonset (key release) timing -- the key (!) to aerated phrasing. (This is why GG's Brahms doesn't work for me.)
What the hell are you talking about? “Aerated phrasing”? “Interonset (key release) timing”? Please explain.
@@man0sticks
Many pianists would agree that the personality of a piano note owes less to its attack than to its release. FTPT cuts short the last few milliseconds of key release -- and its sound world. But a less abrupt release suspends, ever so slightly, full re-engagement of the damper, both mechanically _and_ sonically. This reprieve affords the player haptic/aural space to explore coloration of the pitch/es involved. See (and hear) Horowitz's "flat" fingers in the video of Scarlatti's B minor Sonata, for instance.
Glenn reportedly played with flat fingers on occasion, but his decision not to do so on others was, to my ears, wrongheaded. Take his recording of Brahms, op.76/6; the sound is so choppy, one would think he was naive re: the Schubert- Schumann vocality saturating the late piano pieces. In sum, a non-FTPT release, done well, resembles artful exhalation of the breath in singing and translates to what I call "aerated phrasing" in piano playing, that is, phrasing between note attacks ("interonsets") as well as between periods.
Ira B.
@@irabraus9478 You really know what you are talking about. Great lesson. Thanks.
Does anyone know the piece she is playing?
Italian Concerto by Bach. Great music, this is the first movement.
I don't get it
me neither, just some duma$$ hipster
❤️❤️❤️
sit straight, back upright, elbows at 45deg to the keyboard, hands should be a little higher and your fingers dropping almost like your holding a tennis ball... ALL concert pianists do this
Horowitz played with very flat hands sprawled over the keys
What piece is he playing?
For anyone who's wondering what song this is, it's Bachs Italian Concerto "Allegro" - Glenn Gould at the time 3:13
Guerrero was her teacher? And did she know Glenn? May be...Glenn died so young
Она была его одноклассница
Who’s out here in 2022?! 🤤
Glenn Gould ended up with enormous tendon problems due to simillar aproach to that...It is not helath because both flexor and extensor muscles are involved at the same time...At the end it brings to unhealth contractures of contrary muscle groups...Hands are not then smooth in movements but reather frozen...
How are the extensors activated when the whole goal is to allow the key to return the finger? Chopin advocated a similar technique, as far as I can tell. Dystonia is little understood, but I would hardly attribute it to this practice.
Michael Tilley I recomend you to read Tilmakins principles of piano technique (if ever translated in english ) and Friedrich Neuhaus ( in russian too ) or Claudio Arrau on the same topic.There you will find that only internalised,it means emotionaly and racionaly understood musical context is able to be played on an instrument with scence.The body searches the shortest and simpliest way to express it because this context is a matter of connection between body and soul.It is nothing so complicated like Gould oh mine,or flexor extensor...In a shortest way of expressing music the flexors are those who contracts,extensors are contrary group that only provides some kind of "natural,anatomic" resistance to make flexors activity borderd...We all know that human hand is not primarly made to play any instrument so we should learn how to eliminate extensors from playing and how to transfer the armweight through the playing hand to the top of the finger in order to support flexing movements of the fingers.Additional problem to solve is releasing tension...These are "technical" problems,the main three...And that is a very very hard process,nothing simmilar to Gould or Lang Lang,as they never understood process what can be obviously heard.
Hi, thanks for the reply. Not sure that we are in that much disagreement. I have read Neuhaus, which is genius, I'll still take Chopin over all of them, or Liszt. You can talk about spirituality all you want, but the spirit is expressed in the touch. First of all, how dare you conflate Gould and Lang Lang and secondly, who would you propose who has a better sound than Gould?
Haha how I dare?When for you metalic Gould sound the best is I should "congratulate" you on your musical taste and education...But I would be generous to you und write you a names of those who you should adress by hearing in order to understand better what is beautiful sound:Gilels,Horowitz,Luganski,Maria Yudina,Maria Grinberg,Idil Biret,Maria Joao Pires,Argerich of course,Pogorelic,Polini,Mazuev,Arrau...Each of them with very natural scence of touch and with unique expression respecting text,sceleton of music (ok Pogorelic is in that scence someone who does not respect text,but his tone is magnificent).Gould that only played Bach and Beethoven-both with very disstorted interpratetaion does not belong according to my opinion to magicians of piano sound.
That you think Gould only played Bach and Beethoven suffices to display your ignorance. I have heard all of the above. You don't even list Sofronitsky, who is better than any of them. Gould was still in a class of his own. He who has ears, let him hear.
agree sounds just like gould; on my research Glenn really doesn't give any sort of gratitude towards guerrero i wonder if there was a falling out. clearly he shaped gould's sound
Sean s yes, Guerrero deserves more attention and gratitude. He was a sort of musical father to him. He also brought him into contact with the repertoire he became famous with, like the Goldberg Variations
i can play the aria nicely and the 1st variation but am trying working on it; i try to borrow this pulling feeling that guerrero instilled with his students
Sean s About Guerrero, there is an interesting book by John Beckwith called “In search of Alberto Guerrero”. I can recommend it.
added to the mybooks on google play
According to most biographies, Gould had conquered the WTC before getting involved more deeply with other tutors. Most of Gould's talent is obviously from God Himself
ever since I started tapping, not just my fingers are more independent, my teeth got brighter and my bald spot is no longer visible. it's a miracle.
To play everything with that type of technique it’s quite boring. However to know that type of thing it’s important. It has to be mixed with other types of technique as a legato .....
Legato is a terrible technique for playing Baroque music, it makes the voices muddy and without a voice. Only with such technique can baroque voices be sung and played as they should.
Gould user a raw technic
Ohhhh that sounds hot that sounds hot I gotta get me some of that
It's not this the way, this is only a temporary trick
Now shred on piano
How to sound like a Typewriter
SE HACHE I !!!!!
I wish my keyboard had hammers. It’s weighted, but slow to push my fingers back up
When you have a situation like that, it's best to raise your hands slightly above the keys rather than rest them on the keys. This way, the fingers would naturally go back to rest position after each note.
Presley Joe Black thanks, I will try this!
John Price also would recommend you save up for a decent upright. It’s worth it, trust me.
Jacob Selmon it’s not really practical if you don’t know when you need to move
grade A bullshit... playing piano 45 years now
What is this music?
J.S. Bach: Italian Concerto.
Italian Concerto
Italian Concerto
Bach's italian concerto
Italian concerto!
Are we keeping this up?
Is this technique indentified only for used and professional players?
My teacher told me, that this technique would kill my fingers and it is supposed to be used only by professionals.
It’s not great for professional players either imo. Gould had a lot of damage to his tendons by the end of his life
this is not like gould i think
Q aburrido hermano
It gave him dystonia and destroyed his fingers. DON"T DO IT
are you sure that's the cause ?
I guess that’s why his playing sounds like a typewriter.
comment for algorithm
Wtf is that
Better not to, why would anyone want to play that way.
Amazing sound
I’ve NEVER EVER liked Goulds playing
cool
Detached from the music!!! Ridiculous
This "technique" is bad and wrong. You want to develop finger independence, yes, but having your fingers PUSHED on does absolutely NOTHING to develop that. You need to actually LIFT and STRIKE with each finger. Pushing on them with your other hand is stupid and not helpful.
and no, you other comments, she sounds nothing like Glenn Gould
No, man. This is really useful, move the fingers without effort can help your nervous system understand how to make this movement with the maximum efficacy. It remember me the Feldenkrais method....
Bob Smith, you no quite little about advanced piano technique.
I think there’s something to it. It teaches you what it should feel like, so you search for that feeling when actually playing. But once you do that, you have to actually practice playing with that feeling, which is most of the work.