Going through all tutorials again from the beginning. This stuff is basic but constantly needs re-emphasis, as a check on progress and good habits. Some of it comes naturally IF one is shifting the forearm laterally, which sets it all up. There is a lot here but LFR also informs fingering choices. If one is positioned in advance, the fingers can just drop onto the keys with minimal effort or stretching, thumb under easily without changing position. I take issue with a lot of edited fingerings written in scores. In a macro view, this is about, more or less, constant movement, gestures, as organic. Constant movement counters the stiffness and rigidity, tension, when not moving in busy passages, even slow, "gesture" movements can be very slow but they are not rigid. I like how C demonstrated rotation as a forearm movement, not instigated from the hand, in which case the forearm would have to follow anyway. Rotation in scales and arps is milder, depending on the intervals and finger crossings. The early, longer tutorials are very helpful for me to constantly review, to keep my practice habits on the track I want them to be.
Great viedo thanks for Basic paino Techniques . could you please make viedo about imagnation in piano playing? . I also would love to see viedos about Chopin's Etudes . Thanks
Ive been practising the chopin etude op 25 no 1 and i obviously have to use the circular gesture as you demonstrated but when I do this my forearm and even upper arm feel very tense and i cant even get past the first page because my left arm is so tired and if i force it it would hurt. Could u give me some advise as to what im doing wrong?
Great question! If you left arm is getting tired but your right arm isn't, it could mean that you're doing something slightly different in the left which is causing tension. For instance, maybe your left elbow isn't moving like it should and is tense or maybe you're moving your upper arm too much which can also cause you to feel tired. Maybe you're stretching your fingers too much also? So maybe try to observe exactly what you are doing in each hand/arm and see what you find. I hope that helps! Let me know!
@@PIANO_LAB I've noticed a few things I did wrong and it's gotten much better. However I am still noticing as I speed it up, the circular gesture gets smaller and i compensate by stretching the fingers and it's holding me back. Any suggestions on how to solve this problem?
Your explanation of the arpeggio motion is the basic idea that most teachers use, however, I have found that in reality it is more of a "cartwheel" motion. One keeps the hand slightly open, but still relaxed and while playing each note ascending, you keep the hand in the same open position but you simply shift the arm over to the next finger so that the hand is aligned with the proper finger. As we approach the other side of the hand(4th and 5th fingers) we should try not to push the arm past the point where the finger is not aligned properly with the hand. Since the 3rd finger is the "middle" of the hand, the 4th and 5th fingers should almost never be played with the wrist straight or beyond that. Meaning, the 4th and 5th should always be played at an angle(angled out) away from the hand. WHY? Because the knuckles for the 4th and 5th fingers are better supported and balanced from that standpoint instead of those outer fingers turned in. Also, Since the 1st 2nd and 3rd fingers are the stronger digits, one never wants to shift the hand balance point too far away from that. Also of interest, from a physiological standpoint, the first three fingers are actually attached to a different tendon that the 4th and 5th. So, in reality, it is a measured cartwheel motion WITH wrist motion of UP and back DOWN but NOT a turning of the wrist. This is just my own method and opinion. There are of course many ways to accomplish the same thing depending upon the individual and their comfort.
Thanks for the comment!! I always love hearing other people's perspectives on technique! I agree that making sure that the arm shifts when playing from finger to finger is of paramount importance. I'm not sure I completely understand what you mean by a "cartwheel" motion though. Could you explain in more detail?
@@PIANO_LAB The cartwheel is like if you picture how a person does a cartwheel and as if their torso were the wrist and the arms and legs are the fingers. The difference is, with a normal cartwheel, the person is standing straight up and down and stays mostly vertical going through the cartwheel. But, with the hand, you don't actually need the hand to be in a vertical position-only in a natural playing position. The wrist still has to be loose and relaxed of course.
Really good for a complete beginner like me. Thanks!
This is very informative. As a beginner, I'll definitely practice these gestures. Thank you so much! You got a new subscriber. :)
I'm glad it was helpful!!!
Enjoyed the explanation bc I am working thru your bk New Virtuso Pianist
🎉 FANTASTIC LESSON !!!!
Going through all tutorials again from the beginning. This stuff is basic but constantly needs re-emphasis, as a check on progress and good habits. Some of it comes naturally IF one is shifting the forearm laterally, which sets it all up. There is a lot here but LFR also informs fingering choices. If one is positioned in advance, the fingers can just drop onto the keys with minimal effort or stretching, thumb under easily without changing position. I take issue with a lot of edited fingerings written in scores. In a macro view, this is about, more or less, constant movement, gestures, as organic. Constant movement counters the stiffness and rigidity, tension, when not moving in busy passages, even slow, "gesture" movements can be very slow but they are not rigid. I like how C demonstrated rotation as a forearm movement, not instigated from the hand, in which case the forearm would have to follow anyway. Rotation in scales and arps is milder, depending on the intervals and finger crossings. The early, longer tutorials are very helpful for me to constantly review, to keep my practice habits on the track I want them to be.
LFM which C calls "shifting"
Great viedo thanks for Basic paino Techniques . could you please make viedo about imagnation in piano playing? . I also would love to see viedos about Chopin's Etudes . Thanks
Thanks for the feedback!
Thanks
Ive been practising the chopin etude op 25 no 1 and i obviously have to use the circular gesture as you demonstrated but when I do this my forearm and even upper arm feel very tense and i cant even get past the first page because my left arm is so tired and if i force it it would hurt. Could u give me some advise as to what im doing wrong?
Great question! If you left arm is getting tired but your right arm isn't, it could mean that you're doing something slightly different in the left which is causing tension. For instance, maybe your left elbow isn't moving like it should and is tense or maybe you're moving your upper arm too much which can also cause you to feel tired. Maybe you're stretching your fingers too much also? So maybe try to observe exactly what you are doing in each hand/arm and see what you find. I hope that helps! Let me know!
@@PIANO_LAB I've noticed a few things I did wrong and it's gotten much better. However I am still noticing as I speed it up, the circular gesture gets smaller and i compensate by stretching the fingers and it's holding me back. Any suggestions on how to solve this problem?
Still useful for ATCL! I have been using wrong techniques for ages. Thanks!
Love the info from Piano Adventures
Nice video! Thank you for the explanation 😊
Glad it was helpful!
Your explanation of the arpeggio motion is the basic idea that most teachers use, however, I have found that in reality it is more of a "cartwheel" motion. One keeps the hand slightly open, but still relaxed and while playing each note ascending, you keep the hand in the same open position but you simply shift the arm over to the next finger so that the hand is aligned with the proper finger. As we approach the other side of the hand(4th and 5th fingers) we should try not to push the arm past the point where the finger is not aligned properly with the hand. Since the 3rd finger is the "middle" of the hand, the 4th and 5th fingers should almost never be played with the wrist straight or beyond that. Meaning, the 4th and 5th should always be played at an angle(angled out) away from the hand. WHY? Because the knuckles for the 4th and 5th fingers are better supported and balanced from that standpoint instead of those outer fingers turned in. Also, Since the 1st 2nd and 3rd fingers are the stronger digits, one never wants to shift the hand balance point too far away from that. Also of interest, from a physiological standpoint, the first three fingers are actually attached to a different tendon that the 4th and 5th. So, in reality, it is a measured cartwheel motion WITH wrist motion of UP and back DOWN but NOT a turning of the wrist. This is just my own method and opinion. There are of course many ways to accomplish the same thing depending upon the individual and their comfort.
Thanks for the comment!! I always love hearing other people's perspectives on technique! I agree that making sure that the arm shifts when playing from finger to finger is of paramount importance. I'm not sure I completely understand what you mean by a "cartwheel" motion though. Could you explain in more detail?
@@PIANO_LAB The cartwheel is like if you picture how a person does a cartwheel and as if their torso were the wrist and the arms and legs are the fingers. The difference is, with a normal cartwheel, the person is standing straight up and down and stays mostly vertical going through the cartwheel. But, with the hand, you don't actually need the hand to be in a vertical position-only in a natural playing position. The wrist still has to be loose and relaxed of course.
@@99Grigor Very good discussion, I like the detail, like words in slow motion. Thanks for your info and your cooperative attitudes.