When I learned about attacking the keys "sideways", I always made the analogy to the angle of attack of aircraft engines or wind turbines - it is adjusted to optimize performance under various conditions, just like making the richest sound out of the piano in different pieces.
I was thinking back to my childhood piano lessons and remembered being told to make a beautiful sound or a sound that “comes out of the piano”. As a child I had no idea what that meant. It wasn’t until I learned from a concert pianist later that I learned how to execute it physically. (I learned from someone trained in Russia and was told to play everything by “travelling along the keys” like your described, basically like a grabbing motion). Not that I am a professional or any good, but what I realized as an adult is that you can’t press the keys harshly straight down and kept applying force but there needs to be a bit of a “give” right after the attack to relieve some force in order to make a beautiful sound.
Singers use computer software to analyse the overtone spectrum (which determines sound quality) produced by their voices. It is about time pianists start to use this as well when discussing tone color.
Thank you! You are an excellent musician and teacher. For some reason, I work on arm weight and everything, but my tone is always dull. Every once in a while, it clicks and I get a deep tone, but most of the time, it leaves the music lifeless. Would you have any advice on what this could be? I've tried many things; firming knuckles usually hurts, while relaxing lacks precision as well.
Well done, Mr. Wang. It is surprising how little many music professors focus on the physics of playing, yet, it is a critical component. You are the only one, besides a Polish pianist, who has done this on yt. Worst, many use poetic or vague notions, which is incredibly frustrating and confusing to the student, such as what you said, the directive to 'produce a beautiful sound'. As if any student intentionally produces or wishes to produce an ugly sound. Being passionate about music, and having developed an ear early on with different languages, an ugly sound was always unbearable for me. Why some of us play very softly at first, even producing 'ghost' notes, so we don't have to listen to the harshness.
You raise great points here. A lot of people have reduced volume to key speed alone, thinking they are being extremely scientific and objective. However they have grossly simplified. A sharp strike at the surface can release the hammer before the key gets to escapement. The key can be accelerated over less distance, without creating so much hammer speed. Most likely the key still coasts after the finger slows and still bounces off the keybed. However, what matters is that it can decouple from the hammer and finger if you decelerate sharply, without continuing to accelerate the hammer. A longer acceleration actively accelerates the hammer all the way through to escapement level, so a smaller absolute key speed can generate more hammer speed than a sharp and faster surface blow. Whether these could generate any kind of absolute tone or merely a hammer speed, they are incredibly important distinctions for use in different contexts. So many people who think they are being the most scientific reduce volume to key speed alone (with no consideration of whether the hammer is accelerated all the way to the escapement level). They end up neither being practical nor scientifically accurate about the true possibility.
Very informative and helpful for me. Thank you.
Can you illustrate how to use different parts of body weight, speed and depth of touch to achieve different tone color?
I second this
You can’t cuz it’s not possible. This is pseudo science
I third this
Thank you so much sir!
Many have said these ideas before but few as concisely said these ideas before.
I love the way you teach and your demo, thank you so so much 😊
This is such good teaching. Body language is beautiful bringing out the fullness of the music.
Thank you
God bless you
Thank you so much for this lesson Dr. Wang! It's very helpful.
When I learned about attacking the keys "sideways", I always made the analogy to the angle of attack of aircraft engines or wind turbines - it is adjusted to optimize performance under various conditions, just like making the richest sound out of the piano in different pieces.
EL mejor maestro de piano!!! Thanks
Thank you so much Dr Wang
Wow amazing video, not many videos like this on RUclips
I was thinking back to my childhood piano lessons and remembered being told to make a beautiful sound or a sound that “comes out of the piano”. As a child I had no idea what that meant. It wasn’t until I learned from a concert pianist later that I learned how to execute it physically. (I learned from someone trained in Russia and was told to play everything by “travelling along the keys” like your described, basically like a grabbing motion). Not that I am a professional or any good, but what I realized as an adult is that you can’t press the keys harshly straight down and kept applying force but there needs to be a bit of a “give” right after the attack to relieve some force in order to make a beautiful sound.
exactly. We need to know what to do but more importantly, how to achieve the what.
Thank you for another fantastic lesson Dr. Wang!
Great video Dr Wang, any exercise or drill you’d recommend for quick/light touch practice? Thanks!
great video!! , you gave loads a of gems and valuable information that will surely improve anyone instantly.
very useful video. Can't believe I got this knowledge for free! thank you!
Singers use computer software to analyse the overtone spectrum (which determines sound quality) produced by their voices. It is about time pianists start to use this as well when discussing tone color.
王老师讲的太好了。一直支持！
Great lesson👍
Thank you so much, your video was very interesting and helpful also :D
Thank you! You are an excellent musician and teacher. For some reason, I work on arm weight and everything, but my tone is always dull. Every once in a while, it clicks and I get a deep tone, but most of the time, it leaves the music lifeless. Would you have any advice on what this could be? I've tried many things; firming knuckles usually hurts, while relaxing lacks precision as well.
Dynamics makes a huge difference. In one phrase, the tone needs to vary.
Wow！！！！I really appreciate it！！！！That is so much useful！！！
You make the piano sing.
Well done, Mr. Wang. It is surprising how little many music professors focus on the physics of playing, yet, it is a critical component. You are the only one, besides a Polish pianist, who has done this on yt. Worst, many use poetic or vague notions, which is incredibly frustrating and confusing to the student, such as what you said, the directive to 'produce a beautiful sound'. As if any student intentionally produces or wishes to produce an ugly sound. Being passionate about music, and having developed an ear early on with different languages, an ugly sound was always unbearable for me. Why some of us play very softly at first, even producing 'ghost' notes, so we don't have to listen to the harshness.
Who's the Polish pianist, Aleksander Woroniecki?
Eu gostei muito do vídeo
终于明白了其原理。讲解很科学而不玄幻。赞👍！
You raise great points here. A lot of people have reduced volume to key speed alone, thinking they are being extremely scientific and objective. However they have grossly simplified.
A sharp strike at the surface can release the hammer before the key gets to escapement. The key can be accelerated over less distance, without creating so much hammer speed. Most likely the key still coasts after the finger slows and still bounces off the keybed. However, what matters is that it can decouple from the hammer and finger if you decelerate sharply, without continuing to accelerate the hammer. A longer acceleration actively accelerates the hammer all the way through to escapement level, so a smaller absolute key speed can generate more hammer speed than a sharp and faster surface blow.
Whether these could generate any kind of absolute tone or merely a hammer speed, they are incredibly important distinctions for use in different contexts. So many people who think they are being the most scientific reduce volume to key speed alone (with no consideration of whether the hammer is accelerated all the way to the escapement level). They end up neither being practical nor scientifically accurate about the true possibility.
王老师什么时候来达拉斯希望联系我一下、我想请你吃个中国饭，看你的视频很久了、
哈哈！好呀。 到了问你哪家中餐好吃。
There are people who do produce ugly sound, and they totally do not aware that their sound is ugly. It make people's ears bleed.
Too much waffle
This was a very unclear lesson