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SEYMOUR FINK MASTERING PIANO TECHNIQUE PDF

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Seymour Fink Mastering Piano Technique Pdf

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following dissertation: Seymour Fink's Mastering Piano Technique: Understanding Basic Technical Movements. Chair: Jack Winerock. Date Approved: 27 April. Free Download The Piano Handbook A Complete Guide For ??mastering piano technique students performers author by Seymour Fink and. Download Mastering Piano Technique Seymour Fink.

Increase arm pronation as you move outward. Eventually these movements will become a graceful. Sense the considerable mass moving with great rapidity in your shoulder and shoulder girdle.

After habituating yourself to the slower motion. Insure that your arms look and feel alike as you execute this easily willed but complex adjustment in arm length.

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From the initial starting position of forearms parallel to the floor. The upper arms and shoulder girdle lead and control the movement in both directions. These movements increase elasticity of the hand. Pause between movements. Players often forget that when the arms are spread apart it is the upper arms that initiate the change of direction to lead the movement back towards the center. Then snap your arms down.

This serves to keep knuckle lines level with the keyboard. These movements further strengthen the trunk and shoulder muscles. Pause at the top. As your hands glide back and forth over the closed piano lid. Acting as a crane. Section 2 Posture and Primary Arm Movements accuracy. The upper arms. I have made easier the learning of these positions and movements by presenting them. Playing the piano requires an infinite variety of hand and finger formations.

Diagram showing the theoretical relationship of the three primary hand positions to the two basic finger strokes PM 7. Hand position A. All of them can be meaningfully organized through the use of a functional scheme Fig. The extended position is. That is to say. Be gentle. The three primary hand positions: A extended position. Note this position well.

Note that the thumbs also curve with their palm bones back. The tips of the straightened fingers. The claw position is derived from the extended position by flexing the nail and midjoints inward under while the knuckle joints remain still Fig. Nail and midjoints flex minimally Fig. The long finger flexors. The palm position is derived from the extended position by bending flexing all the digits. B palm position. Hand position C. Lead with the shortest fingers— 1.

Notice how the palm bones of the thumb. Finger stroke 1. The fingers unfold as they move from the claw position C to the palm position B. Practice sufficiently to memorize the two basic finger strokes. Nail and midjoint movement tends to be reflexive. Note how each is formed in relation to the positions of the hand.

Section 3 Primary Hand and Finger Movements The two basic finger movements derive from opposing directional movements. Finger stroke 2. The fingers pull towards the palms as they move from the extended A to the palm position B. The large knucklebone movement is generated by the small flexors located in the hand. Be aware of what is happening. Work calmly and patiently. Then move on to the following exercises which require minimal finger independence.

You have worked through the following hand-position pattern: Exaggerate the retraction of the thumbs in the claw and extended positions and the knucklebone flexion straightening of your fifth fingers in the palm position. The exercises are designed to establish mental and physical control of these positions and movements. Imagine yourself as a detached observer casually noting your finger movements. These few basic positions and movements are in fact the only ones involved in performing the exceedingly varied and complex hand and finger movements required in playing the piano.

Starting from the usual standing position flex your nonpronated forearms at the elbows until your wrists are about chest level. Practice this settingup exercise until it becomes second nature. Use your better hand as a model for the less coordinated one. The objectives here are to improve the directness and fluency of hand and finger movements and to bring the capabilities of the weaker hand up to those of the stronger hand.

Memorize the sensations experienced from this movement in the shoulder girdle. Note the pulling friction. Holding the elbows still. Isometric training involves the conscious use of Augment the training value of this exercise by asking your hands to scoop against an increasingly reluctant arm.

Draw your curved finger tips together. Note the connection between the wrist and shoulder movements. Now return to the original position and slowly repeat this scooping motion a dozen times. The fingers remain fixed in relation to the hands as the hands slide under. I call this motion a hand scoop Fig. Once these motions feel reasonably ingrained. Hand scoop PM 8 —the sophisticated mechanism for applying pulling-arm support to the fingers.

The use of this kind of counterpressure is called isometrics. Four-finger combinations: Retain conscious control of the process. The stroke is generated completely by hand flexion at the wrist. The routine presents useful practice in forming the hand to various finger shapes. Three-finger combinations: Before scooping.

Hand and set fingers move as one unit. It also develops and highlights the role of hand flexion in piano technique. Note that all fingers. Repeat these punctuated. Choose from the following possibilities: Any single finger pair.

Two-finger combinations: Become kinesthetically sensitive to the appearance of any tension or fatigue. Section 3 Primary Hand and Finger Movements one muscle group against another with minimal movement for the purpose of increasing the workload of both muscle groups. Overstraining can slow progress and perhaps cause harm.

This exercise integrates the scooping hand motion with necessary arm exertions. Memorize this sliding motion. Knuckle flexion is the most pronounced. Exercise the fingers isometrically by working them against a gently increasing arm pressure. Increase the isometric load gradually and to a lesser degree than that with hand scoops. Repeat the action until it becomes habitual.

Make no attempt to achieve finger independence. Pace your efforts so as to begin each pull from a completely relaxed extended position to minimize tension and fatigue. At the end of the movement. I call this the pulling finger Fig. Pace the repetitions to avoid or postpone any build-up of tension or fatigue. Note that here. Holding the wrists and elbows still. I call this a finger snap. Observe also the connection between knuckle and shoulder movements.

On the return. Note how the thumbs. Relax and return to the original position. Relax completely between efforts. The individual digits move almost as single units. Now pull the fingers more assertively until you feel they lead the outward arm movement. Section 3 Primary Hand and Finger Movements Pulling fingers is one of the two basic finger coordinations used in piano playing.

The fingers create backward friction with the keys as their tips move under towards the palms. Pulling fingers PM 9 —fingertips move towards the palm of the hands. It is the movement of choice when called upon to produce moderate to fast.

A Extended position touching the leg B Pulling to palm position Fingers nap throwing the arm out Figure They are supported by a sustained and flexible hand scoop pressure. Gently and without strain unfold your fingers more assertively until you feel they lead the movement pushing your arms outward Fig. Confine yourself to just a few gentle isometric exercises in this instance. Unfolding fingers PM 10 —fingertips move away from the palm of the hands.

Note the pushing forward friction. Brush your legs with your hands in a loose relaxed. Memorize these sensations from the shoulder girdle through the arms to the hands and fingers. Note the interplay between the highly active finger joints and the shoulders. Start each new stroke from a relaxed claw position.

I call this the unfolding finger. Collapse your arches to return to claw position moving the entire arm as a single unit. Make no attempt at finger independence. Note the large movement in all three joints of the fingers. These ten primary movements encompass the basic elements. Concentrate on pushing off springing especially hard with fingers 1 and 5 and on relaxing several seconds between efforts. I call this the finger spring Fig. Made exceedingly sensitive to key resistance by virtue of their proximity to the controlling small muscles in the hand.

The student who masters these exercises. Use the practice possibilities suggested in PM 8 for this purpose. The forwardly poised arms with hanging hands high wrists provide the necessary support. As the movements become second nature. I chose this succession because of the comparative ease of learning and memorizing the sensations associated with their movement.

To recapitulate: I started with general posture and then moved on to the larger units of the playing mechanism. Not only do they position and systematically support the smaller units. Return your hands to your legs in palm position before collapsing to claw position.

This practice is particularly useful for the subtle voicing of chords. Return occasionally to the original position—hands near the sides of your legs— to insure that only the direction of the force has changed. Now that you are acquainted with the kinesthetic feelings associated with pronating the arms and hands for the keyboard.

There are three integrative areas that I plan to pursue: Section 4 Integrative Movements The ease and joy of pure movement. It is time now to adapt these motions to the requirements of the keyboard in such a way as to preserve this freedom. If you are not prepared and careful. Perform PMs 8. The keyboard also mandates a level and laterally straight-line surface against which the fingertips.

I turn to flexion. Do each of the several coordinations approximately a dozen times. You must now integrate these acquired primary movement skills with the position your body assumes at the piano. I turn to pronation first. Seated on a narrow. While repeating these exercises.

The purpose of this section is to carefully blend what we already know kinesthetically about the biomechanics of the core piano-playing movements with the new realities that the instrument presents. While executing the movements. Section 4 Integrative Movements backed away from the keyboard. The necessary adjustments for assuming the normal playing position IM 1: A pronation. A Pronation B Flexion Figure Repeat these several hand and finger coordinations a dozen or so times at various degrees of flexion along your legs to ingrain the adjusted movements.

Note that the shoulder girdle recedes as you flex your elbows. B flexion. Fingers 1 and 2 are set in the palm position with 5 opened out to the extended position. The following exercises aim at integrating the primary movements of the hands and fingers into a new environment. Memorize the position of the fingers at the pronated extreme of this cycle Fig. B supinated formation.

Then proceed to the following exercises. Work calmly and loosely. Before moving on. Learn both hand and finger configurations and accustom yourself to oscillating back and forth between them. Fingers 1 and 2 are set in the claw position while 5 is set in the palm position. Preparatory finger-positioning practice in the air IM 2: A pronated formation. A Pronated formation—hands in the air B Supinated formation—hands in the air Figure Repeat the composite motion a few dozen times or until the combined pattern is kinesthetically memorized and thoroughly ingrained.

Note the interrelation of all moving parts: Work calmly. Relaxed fingers roll and slide as necessary. Start with the pronated extreme of the cycle Fig. B supinated position. Flexing sliding thumbs can lead movement from position A to position B. Section 4 Integrative Movements IM 2.

All three joints of fingers 1 and 2 and the knuckles of 5 must be exceptionally mobile as the arch slopes first one way. Integrating arm and finger movements on a flat surface IM 2: A pronated position.

Become aware of the fundamental relation Practiced regularly. Section 4 Integrative Movements shoulder girdle. Too often awkwardness in integrating arms and fingers to each other and to the level. These cycles. A natural pulsation emerges. Practice this integrated shift several dozen times until it is thoroughly ingrained in a loose.

Perform cycles of various sizes and speeds. Then flatten the circle top and bottom making smaller. Turn the wheel with loose fists so that you are pushing it away from you at the top part of the circle. These integrated movements provide a flexible basis for balanced.

Integrative Movement 3 Adapting the Entire Playing Mechanism to the Keyboard—Arm Cycling Piano playing regularly calls for cyclical movements of the arms not only for activating the keys but as a part of the transition from one tone to the next.

Turn the large imaginary wheel several dozen times to exercise and integrate the moving parts of the playing mechanism. I call this the pulling arm cycle.

The movement is reminiscent of the shoulder-girdle cycles of PMs 2 and 4. The following exercises are designed to ingrain the effective and efficient marshalling of the entire playing mechanism in producing these repeated cyclical movements. The lesson is clear: Section 4 Integrative Movements ship between the speed of repetition and the smallness of the gesture.

Arm cycling IM 3: A turning an imaginary wheel. Cycle size has more to do with how quickly the music can move than does the measured speed of the arm movement itself. The quickest cycles approach a muscular vibration but do not completely achieve it or a straight-line motion. Pulling Pushing Figure B elliptical arm cycles. Do several dozen large pushing circles. By integrating shoulder-girdle movement with the smaller units of the playing mechanism.

Many useful playing movements are derived from these elliptical models. As before. Practice cycling at various speeds and sizes over a period of several weeks. Section 4 Integrative Movements The pushing arm cycle results from turning the imaginary wheel handles in the opposite direction. Sit with good postural alignment and your body centered before middle D. Once centered. Experiment as follows. Section 5 Movements Shaped by the Piano It is impossible to properly use the playing mechanism.

This section deals with two additional areas of consequence which must be taken into account. Since no two people have identical physical proportions. Position and posture at the keyboard—the fundamental technique. Sitting in this manner provides efficient weight distribution while also providing sufficient body support and freedom for pedaling.

By contrast. Your sitting torsoneck-head alignment must replicate your standing posture.

Establishing a healthful and natural posture at the outset is critical because the many hours devoted to practice will only prove harmful if your back slumps. A well-established central position not only speeds habit formation and promotes accuracy.

This position stabilizes the spinal column by minimizing and balancing the muscular effort needed to maintain your equilibrium.

Your bench or stool must be at a height so that when your body is comfortably poised—that is. From this centered. Simultaneously contract your lower abdominal muscles. Section 5 Movements Shaped by the Piano 1. Your bench or stool must allow you to sit close enough to the keyboard so that with your upper arms comfortably vertical your right fist presses the cluster C-D-E one octave above middle D while your left fist presses the cluster C-D-E one octave below middle D.

By so doing you will almost instinctively sense the poised unity and verticality of your entire upper body. Sitting spinal extension is encouraged by relaxing the muscles of your tongue. Play in this position for minutes making any adjustments you deem necessary. So positioned your knees can drift apart adding to a feeling of body relaxation and stability: You must arrive at a correct position for yourself and stay with it. Integrate these two dimensions of height and proximity to the keyboard by pronating the hands to the normal playing position: The fifth finger knuckles of both hands should just touch the white area of the keyboard.

Movement toward and away from the piano is made hinging at the hips. Lateral movement is done by swaying right or left—always maintaining the postural alignment of the central seated position. Absolutely avoid any hamstring pull that slides your feet backward or tips the bench forward.

Body movement flowing with the musical line. Play a flowing musical line making slow. The left foot. The torso-neck-head unit should move as one. Note that as you move toward the farthest point of each circle you must alternately elongate relax the upper side of your middle trunk to keep your hip from raising off the chair. The legs also play their part.

Section 5 Movements Shaped by the Piano Now place the ball. It effectively positions and supports the finely tuned playing actions of the shoulder girdle. Your body. It can move easily and gracefully to express musical line and continuity. Section 5 Movements Shaped by the Piano Next. Simultaneously slide your left foot to the left to provide added support and twist your body slightly to the right to align your hands with the fallboard by pulling your right knee back.

Remember to keep your head up. Only three movements are needed to readily and effectively reach the extreme ends of the keyboard. Body movement reaching extreme right. You should experiment with these movements while also playing. Simultaneously twist the torso slightly to the left to align your hands with the fallboard by pulling your left knee and lower leg back.

The one involving the simplest movement is interestingly enough the one required to reach the extreme ends simultaneously. To do so simply bend farther forward from the hips towards the keyboard. The third movement allows you to extend both hands to the extreme left. The body It requires that you sway to the left on the left hip while extending relaxing your right side.

Take the time to memorize the kinesthetic feelings of these movements away from your central position. The second movement. In so doing they demonstrate what many student musicians feel is an uncanny awareness of where to place their hands. This topographical knowledge is a basic building block in constructing a musically intelligent technique.

But now. The double-tiered levers used to produce the tones are asymmetrically placed in the octave. This octave duplication in various registers is fundamental to both the keyboard and musical structure. Thus relieved of all balancing obligations.

As a consequence. Section 5 Movements Shaped by the Piano must maintain its equilibrium without any recourse to the playing apparatus. It clearly consists of two tiers of levers or keys. But in the lower tier. Bodily awkwardness. For most performers. Rather the opposite must happen. As you work to develop this. Though it all looks quite orderly and thought-out. Now look again at the keyboard to see another fundamental pattern—a pattern that presents some genuine difficulties.

When you are ready. Sense the weight of each key you play and realize from the start that the looser and softer you play.

Moving a major triad typically fingered These anomalies complicate ordinary chromatic transpositions. For the present. Play all black keys with third fingers. So assume your central position in front of middle D and proceed. Yet the ability to render such chromatic transposition with consistent fingering is an essential part of the sophistication needed to play with musical insight.

Become skilled first in octave transposition: Pianists function quite comfortably in this bilaterally symmetrical mode. Practice the mirror image of this octave transposition procedure with your left hand. Begin the process of orienting yourself to the arrangement of the keyboard by centering yourself before the piano: This is true because the more malleable your hands and fingers remain.

Play a slow legato contrary chromatic scale using the traditional l- 2 -3 fingering: Start with both thumbs on middle D touching in the gray area. Maintain identical fingering as you jump from register to register. With octave transposition under control. Third fingers Play softly. Do these exercises for 10—15 minutes a day until they become second nature and you have physically and intellectually internalized the feeling of the octave patterning.

Section 5 Movements Shaped by the Piano adjustments required of the fingers. Progress in contrary motion for three full octaves. Notice that the two sides of your body must perform vastly differing coordinations simultaneously. Notice that contrary chromatic scales begun on middle D yield mirror-image relationships with identical physical movements for both hands.

To successfully apply hand-vocabulary logic. This term implies a consistent choice of fingering that relates not so much to the layout of black and white keys. Section 5 Movements Shaped by the Piano touch their black keys reaching out towards the fallboard.

Little by little as you practice these exercises there develops what I call a hand vocabulary. Consistently centering yourself will automatically improve your lateral hand and finger accuracy as your mind begins to comprehend the inherent order of the keyboard that results from middle D.

Though the shape of the hand may change slightly with particular fingers sometimes high or low including thumbs on black keys. Scales obviously have a place in technical development. The mind perceives this new orientation as an important unifying and indeed simplifying element.

A meaningful finger-interval bonding emerges. This is a prime example of the confusion that can arise by focusing on technique as a series of musical patterns rather than coming to grips with the body mechanics of the player. The intervalic distances of the tones become consequentially tied to certain handfinger configurations which can be regularly applied throughout a given passage or an entire composition.

Despite the theoretical simplicity of a doubled. Now play a four-octave parallel D-major scale with hands one octave apart. Keeping this goal in mind. Repeat the contrary chromatic scale from middle D to find the coincident Ds and G s. Perform the notes in Figure hands together and with straightened third fingers. Middle D with signpost notes—black area contrary motion arm practice for the purpose of psychologically and physically centering yourself at the keyboard.

Doing this leads to the most profound reward of the process. They can be labeled and used as signposts that show the distance in both directions from middle D—via half-octave G s—to three-octave Ds.

Section 5 Movements Shaped by the Piano black area of the keyboard. Play each pair of notes softly several times. But this cannot happen unless you establish the knowledgeable. These coincident tones form equidistant. Form your hands and fingers so that a gradual.

Hand-vocabulary thinking requires studying and organizing the repetitive shapes of a musical composition. The arrangement is similar to the one naturally formed by letting your hands hang loosely from wrists poised in the normal playing position.

Six octaves separate the hands when playing three-octave Ds Fig. Sound the notes using a prepared fingers beginning on the keys arm-push stroke. In time. Fill in the tritone spaces as shown in Figure The looser your hands and fingers. Avoid sagging arms.

Feel your way along the keyboard—the way blind people track their fingers along a corridor wall to discover door openings and turnings—guided by the sides and tops of the keys. All keys. Tritone spaces filled in chromatically. Using the same fingers. Experience with each key both its resistance and the forward friction of the finger pads against the key surfaces.

Section 5 Movements Shaped by the Piano sense of musical line. Move through these relatively cramped quarters without looking and with an increasing awareness of the outlines of the mirrored shapes. Arms experience the twotier system in the black area of the keyboard. Height adjustments for the keys are identical for both arms. The purpose of this exercise is to accustom you to playing single-fingered. Begin the exercise in full view. When playing whites with blacks to only one side. Play blacks and whites identically.

Make smooth tritone shifts. Touch the keys with your finger pads. The groups. Do this by establishing two sets of five adjacent keys. If necessary. Make smooth. It is time now to concentrate on the relationships within the octave. Alternating contrary octave and chromatic motion—further centering practice.

The proper shoulder-girdle and upper-arm movements to be employed are described in PM 6. A useful way to simplify the irregularities of the black key patterning is to project two contrasting areas of the octave: Notice how G centers the group of three blacks that are upper tier.

D centers a group of three white keys that are lower tier. Remembering that middle D is the center for the entire series serves to root you in the center of the piano in your chosen central position.

Section 5 Movements Shaped by the Piano The exercise pattern in Figure alternates octave and chromatic motion with the third fingers. The purpose here is to learn to make accurate contrary octave shifts of the arms. When this and the two previous exercises feel completely comfortable using third fingers the middle of the hand. Habituate your mind and hands to experience the two-tiered.

Signpost note clusters—training the fingers to the two-tier system. Maintain your focus on lateral accuracy and on adjusting the relative height at which each finger must be placed to accurately mold to the next landing. The high and low signpost centers—organization within the octave Play the chord clusters in Figure entirely in the black area near the fallboard.

The essence of keyboard facility lies in the ability to anticipate the lateral arm shifts and vertical finger molds with pinpoint precision. Practice each of the given exercises A and B at least a half-dozen times. The third fingers are to be placed on the signpost Ds and G s. This important adjustment comes about quite naturally since all fingers are touching in the black area. The circled finger numbers in Figure signify which fingers are to be used on the primary notes.

Section 5 Movements Shaped by the Piano white note black note s ignpost not es major Figure Practice it to develop facility in transposing two. A B Figure Adjust finger heights independently.

Now play Figure B. A the primary notes of the exercise pattern. B pattern with thirds added to the outside. Touch fingers near the fallboard well into the black area of the keyboard. Play by pushing lightly forward. Basic template practice model which includes chromatic. Note that the third fingers represented in the figure by the circled number 3s play the primary note of the template pattern. Repeat the exercise with fingers 2 and 4, then with fingers 1 and 3. Again place the circled finger number on the primary tone of the exercise pattern.

You may certainly enlarge the pattern for additional practice. Repeat each finger set several times to accustom your fingers to shifting independently and to maintaining the given intervalic distances.

Again sound the tones by stroking gently forward with straightened fingers, playing softly, with minimal tension and motion, and with a sense of musical line. Approach the three-note chords of Figure similarly. After practicing one hand at a time, use both hands together to take each pair of chords through all the notes of the basic drill pattern established in Figure A.

Again, play softly with minimal tension and movement.

We have been through a process of molding your mind, arms, hands, and fingers to the topography of the keyboard from the vantage point of your central position.

Developing a comfortable and routine proficiency in handvocabulary orientation and its mirrored-movement transposition contributes profoundly to an instinctual understanding of keyboard topography as well as to genuine technical sophistication. The easy management of the keyboard grows as your fingers become habituated to using its entire depth and to handling the two-tier relationship of the keys. Your arms gain lateral accuracy as you remain centered at the keyboard.

This growing proficiency frees you to give your attention to the elements found within the musical score, to intervalic relationships, melodic shapes, and rhythmic organization—all of which form the basis for intelligent performance. Your mind, arms, hands, and fingers become free to choreograph the shapes and contours you find in the music rather than remaining tied in a superficial relationship to an arbitrary keyboard design.

This will significantly add to your playing a genuine sense of freedom, artistic meaning, and expression. This function is performed by the damper pedal, which not only moderates the percussiveness of tone production but permits the player to hold, accumulate, or connect pitches well beyond what the fingers alone can do.

These inflections and transformations of tonal quality are unique to the instrument, allowing it to sing in ways no other instrument can. One quickly realizes how central pedaled sonorities are to the quality of piano sound when hearing what is lost, particularly in idiomatic piano works like those of Chopin or Debussy, in transcriptions of piano works to other instruments or combinations of instruments.

When the damper pedal is not engaged, the keys control the felt dampers of their respective strings so that when a key is struck the tone sounds until it is released.

Furthermore, because undamped strings are free to vibrate sympathetically with activated strings, the overall resonance of the instrument is markedly enriched when the pedal is engaged. It is time now to incorporate the pedals into your central position.

Place the ball of your foot, not just the toe, securely on the pedal, heel touching the floor Fig. The unfolding leg produces forward avoid pulling friction on the pedal surface. Though the pedal is occasionally engaged simultaneously with the depression of a key or keys by the finger s to enrich sonority, its primary function is to sustain and connect tones.

To effect this binding of tones in a musically intelligent way, a legato or syncopated pedal must be employed and it must be executed with precision, speed, and subtlety. The most important aspect of sensitive legato pedaling is in knowing when to release the pedal; sounds accumulated by virtue of engaging the pedal must be precisely damped so they are musically integrated with the succeeding sounds. The objective of this section is to provide you with the physical and intellectual means of using the pedals efficiently, effectively, and in a musically imaginative way.

It will be necessary to repeat these exercises over an extended period of time so that the movements become thoroughly instinctive, agile, and most important, wedded to your concentrated listening. Depress the pedal slowly, listening for a tantalizing kind of aliveness within the instrument. Then, keeping your heel securely hinged to the floor, snap your foot back as far and fast as possible, noticing how high your knee is raised. Snap it so sharply that the returning dampers generate a thud.

Hold your toe high, well above the pedal, and attend to the dead silence that ensues. Repeat these exaggerated movements rhythmically, matching ONE to the thud of the pedal release, TWO to the following calm pedal depression. Note how the sharp release is clearly separated from the subsequent depression.

Next play a one-finger any finger scale in the rhythms indicated in Figure A, a quarter to MM The upper arrows pointing downward call for depressing the key while those pointing upward call for releasing the key.

The lower diagonally descending lines call for depressing the pedal while. The key is depressed and held with the finger until the pedal is re-engaged, while the playing of the next note must be synchronized with the thud of the exaggerated pedal release.

Repeat the three exercises in Figure until you can accurately connect the notes in the varied rhythmic patterns, all the while developing ankle mobility and the extremely critical integration of hand, foot, and ear. Enlarge your practice of single-finger scales to include skips, then random chords jumping around, all carefully and cleanly connected with the damper pedal. Practice each hand separately and both hands together. These drills are designed to develop basic legato pedal instincts.

All three exercises encourage habits which involve careful listening, exact timing, deftness of movement, and absolute separation of strokes. Practice these exercises until the contrary motion between finger and foot becomes second nature.

When you have the three parts of Figure well in hand at the slow tempo suggested above, then turn to the even-cycled exercise Fig. At some point in increasing speed you will find that you must abandon the exaggerated pedal release, but even so, do not abandon the crispness of the release movement. Boost speed gradually until you have time to neither depress the pedal nor lift your foot completely.

By listening carefully you can discover the engagement point of the pedal mechanism—the precise location, surrounded by free play movement—where the dampers actually leave the strings. This point will vary from instrument to instrument. Fast, tiny movements at the engage-.

Realize immediately that the damper pedal is not simply a toggle switch with two extreme positions. You can simulate f p on sustained notes and exploit sympathetic vibrations to create overtones. You can vary tonal decay from a sharp. Section 5 Movements Shaped by the Piano ment point create a vibrato pedal. Ride the pedal to obtain just that degree of sustaining. Keep in At this stage. All these and other possibilities are open to you after mastering the legato pedal.

The left. Thus you can release the pedal early. A contrasting. You can create contrast by pedaling some sonorities while not pedaling others. You can depress the pedal before activating the key s to augment sympathetic vibrations. When the basic legato pedaling motion becomes thoroughly ingrained. You can depress the pedal only a portion of its full movement to ration the amount of sonority and resonance accumulated. Continually experiment to discover how sonorities variously pedaled can increase the range and beauty of your playing.

Always keep in mind that the manner and amount of pedaling you apply in each instance must vary with the particular instrument.

Mastering Piano Technique: A Guide for Students, Teachers and Performers

Since the damper pedal is so critical an element in the functional and artistic makeup of the instrument it behooves the player to pay scrupulous attention to its use. The other two pedals require no special dexterity and they are used relatively rarely. The sostenuto or middle pedal is the least used of the three. The sostenuto pedal is sometimes used to sustain a low. Section 5 Movements Shaped by the Piano mind that using the una corda is not primarily a substitute for the inability to play softly with fingers alone.

All other keys function normally and can be played with or without damper pedal in the usual manner. These raised dampers are caught by the sostenuto pedal and will remain off their strings until the sostenuto pedal is released.

So long as the sostenuto pedal is engaged before the damper and after the specified keys have been depressed. Do not. Carefully preplan its use. When depressed it engages only those dampers that are already raised by previously depressed and held keys. Although most piano music was composed for instruments lacking this device. The three integrative movement patterns combined separate movement elements and adopted them for use at the piano.

These core movements. The final four primary movements were devoted to hands and fingers. Part Two will relate what you have learned so far to live sound at the piano. At the same time you came to appreciate the potential that pure movement has for emotional expression. The final sections of Part One served to orient you to and center you at the instrument itself. A theoretical scheme was introduced that accounts for most hand and finger movement: Section 6 Summary The exercises and instructions of Part One established the requisite mental.

The importance of scooping hands. These sections included ideas and exercises that helped you to address the piano. The emphasis continued on equalizing the development of both sides of the body. Stressing at first correct postural alignment. Working methods and attitudes. The primary movements. A wealth of movement choice is developed to be held in reserve.

Serious performers must focus on the ongoing physical processes. Section 7 Introduction Part One introduced the primary movements of piano playing away from the piano in a centered. Part Two subdivides the initial application of the fundamental movements to the keyboard into five major areas of the playing apparatus.

Applied Movements. Part Two. Some coordinations will feel particularly natural. The five substantive areas. Pianists should try to become so keenly aware of the inner sensations of their playing movement as to render themselves substantially more injury-proof at the instrument. Synthesized Movement. By the end of the process. The expertise is also developed to help players confront.

These dangers are caused not only by inefficient physical movements. The material was presented with a double purpose: Postural alignment. These latter two parts present instructions and exercises that progressively point performers towards a balanced and flexible technique. An active solo and chamber pianist, Professor Fink gives numerous master classes and lecture demonstrations on piano teaching and technical development.

He brings to this study a wealth of European and American educational experience, worldwide travel and observation of the pianistic scene, and more than 35 years of piano teaching experience. This work of Mr. Fink is absolutely magnificent.

For the aspiring concert pianist, for the serious student, or for piano lovers who would simply like to improve their fluidity and definition at the keyboard. The ten physical exercises done away from the piano are so complimentary and helpful.

Fink seems to be a physiologist and anatomist of the human body, as well as a piano master, and this combination makes his perspective superior. Fink takes the mystery out of fine piano technique and brings exact motoral and muscular distribution matters to light in plain view, solving scores of execution difficulties pianists incur.

Mastering Piano Technique Seymour Fink

Highly detailed! It is a very interesting DVD based on the book of same author. He is to the point and gives good advices for professionals or amateurs pianists that are in search of a better performance on piano. The subjects are well divided in the chapters and you do not need to see everything at once, on the contrary, by watching step by step you will enjoy more this DVD and have a better understanding of what he is explaining.

Full of practical advices performed by the author. This volume is extremely helpful to those of us who take the piano seriously and are intent on mastery.

English Year: USA Running time: DVDRip Video: Yes PDF Size: I have travelled back and forth and up and down the Internet Google YouTube you name it …. Thank you so much.Hooton University of Auckland R. A useful way to simplify the irregularities of the black key patterning is to project two contrasting areas of the octave: Preparatory finger-positioning practice in the air IM 2: Retain conscious control of the process.

Some coordinations grow on one only slowly.

TARRA from Pennsylvania
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