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Phone: Skype: E-mail: school@pianowell.com |
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| Unnecessary Tension of Arms A constant retention of unnecessary tension in arms interferes with virtuosic playing. This sensation appears on the early stages of learning when student can't manage to play with just fingers and fingertips with hands free of tension. When student plays this way, p doesn't sound, and f sounds weaker then it should. All sounds sound unevenly, erratically and uncontrollably. There's no weight and stability while playing. That's why student begins to internally and physically gather up, exert and strain. Because only such effort allows him to play with a little more quality. But this is an incorrect way. And student begins to feel obstacles on the way of performing virtuosic pieces. If student is advised to avoid straining arms and play with free arms, then he either can't recall the sensation of free arms or, after trying to relax his arms, finds himself unable to play like that because fingers also relax together with arms. So how is it possible to play with free arms, but control a necessary exertion in fingers? The key is in teaching a student to control fingers with his head — his internal timbral and intonational ear. Internal timbral ear controls fingertips and distal (nail) phalanges, and intonational ear controls fingers themselves and tendons inside the hand. Only with such playing (when student pre-hears each sound that he's about to play and internally sings with intonation all connections between sounds) it's possible to free one's arm completely and enjoy how fingers gently touch vibrating and singing sounds. The arm remains free, and fingers exert right before playing a key and have time to relax a little after playing it. And most importantly, the absence of tension in the arms while learning a piece allows fingertips to really learn a piece — a sensation of stability and calmness appears instead of convulsive strain. Unless teachers learn to see these problems and provide a solution to them, students will remain with unsolved problems, and teachers will be in a constant dissatisfaction with performance of their students. Previous | Next |
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| Pro Articles • The "PianoWell" System • The First Piano Textbook for Professional Pianists • Typical Pianist Mistakes Related to Incorrect Sound Production and Undeveloped Internal Ear • Unnecessary Tension of Arms • Correct and Incorrect Piece Analysis. About Our Workbooks With Piece Analysis • Mastering the Musical Means of Expression Develops All Types of Musical Ear • The Myths About Piano Education and the Disclosures • Studying the "PianoWell" System as Preventive Measures of "Overplayed (Injured) Hands" • Problems of Piano Methods • About Piano Technique • The Musical Means of Expression • Playing Without Intonation Like Living Without Air • The Correct Sound Production Technique • How to Find a Good Student? Other Articles • About Piano Education of Amateurs • About Piano Education of Children • Recommendations for Beginners From Zero • What’s in "PianoWell" for Amateurs • About the New "The Art of Piano Technique: The Basic Course" Textbook for Professional Pianists Pro-Ams and Teachers |
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