If you have ANY questions at all, please contact support claviercompanion. Scott McBride Smith. Sunday, 02 September Here are his thoughts in his own words, edited and condensed slightly by me, with an occasional comment: Ha nd position 6 : I think of the hand position as in transition, in a sense.
To my mind, there are three basic positions, what I call: Extended position in which all parts of the hand—fingers, thumbs, and palms—align in a flat plane.
Palm position is found by bending all the digits and thumbs at the knuckle, with tips and mid-joints flexing a bit. The hand is now in a rounded shape. For me, this is the most important of the three hand positions. Almost all finger strokes finish with this arrangement.
Flexing the nail and mid-joints under the hand while the metacarpal-phalangeal joints staying firm produces claw position. This action is produced by the flexion of the long flexors in the arm. Finger strokes : There are two: Pulling finger : Here the fingers pull toward the palms from the extended position. The thumb initiates this motion, producing a deeper and perhaps stronger sound.
Unfolding finger : Unfolding finger is created when the fingers push out from the claw position to the palm position. The metacarpal-phalangeal joint motion is generated by small flexors in the hand. Nail and mid-joint movement is reflexive rather than active.
This motion creates forward friction on the fingertip, producing a lighter and quicker key response. Thumbs : The thumb is the most flexible joint of the hand: the thumb is the only finger well, it's not really a finger like the others, anyway—it moves so differently that can shift readily in all directions. This flexibility allows the arm to position itself to stay out of the way of the other arm.
Students would do well to explore lateral thumb movement, the use of "poking" motions, and the numerous grasping strokes that I discuss in my book. Taubman's former artistic director Edna Golandsky 10 in her own work. There are some differences, of course, between the respective approaches, but fundamentally I agree with all of them. The rotary motion provides a turnaround movement that is very strong and very fast. It's quite useful.
Fingering : Once a student moves into synthesized movement, other issues become prominent. While playing all but the simplest piano works, the hand jumps around a lot. The role of fingering is to keep the hand balanced and in a comfortable position. The problem with this type of old-fashioned fingering—wrist rolls, changing fingers on held notes—is that it takes the arm out of position.
Creating a sense of legato depends on rhythm, continuity, and control of pacing. Smoothness of motion is more important than actually connecting fingers. Finger legato is not the first priority. SMcBS : I remember you saying in a workshop once that scale playing is overrated. SF : chuckling Well, I think I might have been overstating to make a point. But in fact one flaw in basing technical development largely or even exclusively in practicing scales is that the fifth finger is little used.
Students sometimes are not even aware of how they are using that digit, so important to melodic and chordal playing. It's sometimes held artificially high in a tense position, or completely collapsed, causing the whole structure of the hand to slide. SMcBS : How should the fifth finger be positioned? SF : Arm aligned behind it, forearm pronated, and the fifth finger metacarpal-phalangeal joint prominent. But there's an important first step that has to happen before the teacher explains all of this to the student.
In my opinion, this "prestep" might be the most important job of all for a teacher in teaching technic: making the student aware of how she is using her own piano playing mechanism. I find most students don't think about this much at all.
They are very focused on the result they want; not so much on the movements that will help them create it. This mindset never works. You have to be a member to access this content. Please login and subscribe to a plan if you have not done so. Login if you already have an account. Login For Access. Seymour: More than an introduction.
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The booklet works, but not the file. I am also very grateful to have found this here: Been searching a lot! I am sorry the problem persists, the second video file seems to not work.
When I try to extract it, it says File corrupt. The 2nd part does not work for me, the file seems to be corrupt. Anyone else seem to have this problem? I have travelled back and forth and up and down the Internet Google YouTube you name it ….
Thank you so much. I have tried to find it for a long time. Just wanted to say thank you, to whom ever placed this video. After adjusting my physical approach as suggested, I am amazed at how much easy it is to play now and how much less pain that those long stretch continuous exercises have given me.
I would recommend this video and its approach for anyone really interested in playing piano. I downloaded this video to improve my scales and chordal techniques, thinking that what it was all about. Boy did I get a shock, it was nothing like I expected!!! I viewed the video and did just one hour of the exercises, and was blown away by the difference in my playing style and ease.
This is a must if you are a piano player. Work on the exercises and feel and hear the difference in your playing..
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