HOW TO PLAY LISZT EASIER AND MORE CORRECTLY? →     Quotations from Liszt and Chopin     Sonata in B minor     Mazeppa     Feux-follets
HOW TO STUDY CHOPIN’S ÉTUDES? →     Introduction     op. 10 n° 1     op. 10 n° 7     op. 10 n° 12 (video)     op. 25 n° 11 (video)     op. posth. n° 1 (video)

Advanced Piano Coaching Online

5. What is my method?

My Piano Coaching by Audio / Video Analysis
includes everything that a pianist needs to succeed:
● piano technique (theory and practice),
● interpretation,
● organization of work and rest,
● memorisation techniques,
● how to cope with stage fright,
● preparation of concerts / competitions / exams.

For an experienced pianist, pianistic movements are as natural as breathing. On the other hand, students use many unnecessary movements, often neglecting or unaware of the essential ones.

With a great dedication, my first teacher told me regularly for eight years that while playing “the finger must rest remain in contact with the bottom of the key.” And naturally I went out of my way to try and do exactly that. Not understanding the crucial point, I tried over and over to excessively increase the pressure on the keys, which never brought the desired result. Of course, she wanted me to acquire the Neuhaus “bridge” (which even Neuhaus did not describe completely - cf. the Glossary). The explanation is very simple - one must only suggest that the student try to lightly “push” the piano forward (cf. Chapters 1 and 2). That's all there is to it.

As we know, the movements of our body are governed by the same laws of physics and anatomy. What's more, a great majority of pianistic movements have a parallel in our daily lives. Evidently, it will be easier for the student to understand and be able to carry out movements that he knows from his daily life. As we saw in my example above, explanations of pianistic movement taught in a traditional manner, that is to say using professional terms, are by nature fairly cryptic, and therefore less attainable and understood by the student. They can even appear abstract.

For this reason my teaching method often refers to movements that we do each day, even without thinking about them. In these examples, it is much easier to understand the mechanisms that come into play. If you realize this, your technique will improve significantly, and the results will snowball because you have begun to play in a way that conforms to the physics that govern your body's movements.

Even if certain pianistic movements are different than those found in our daily lives, to compare the similarities and differences offers a lot of help in solving many technical problems.

 

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