This is the public version - abridged
This page contains only selected excerpts from the chapter.
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This page contains only selected excerpts from the chapter.
The full version is available after login.
● See access conditions
- In this chapter:
- 1. Introduction
- 2. Sound production - the role of imagination and posture in playing and teaching
- 3. Suspension of the Motor Apparatus (MA)
- 3.1. How to understand the term “suspension” of the MA
- 3.2. What it looked like in the past
- 3.3. A basic exercise to achieve proper suspension of the MA
- 3.4. "Pushing the piano" - a few remarks on this technique
- 3.5. MA suspension and the use of its weight
- 3.6. How to practically reconcile the MA’s lightness in the horizontal with its weight in the vertical
- 4. How the sound of the piano is produced
- 4.1. Mechanical process of sound production
- 4.2. Optimal positioning - how to achieve a dynamic and active MA
- 5. More on imagination - exercises that facilitate the proper positioning of the MA
- 5.1. The bottle
- 5.2. “A very long” finger i.e. an arm “without an elbow”
- 5.3. The “itching” of the fingertip
- 5.4. Shoulders contracted by stage fright - influence on technique and memory
- 5.5. Imagining the solar plexus
- 5.6. To recapitulate
- 6. How Josef Hofmann forgot the program of his concert 😊