Use Circle Gestures To Play Difficult Repertoire With Ease | Piano Technique Tutorial

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  • เผยแพร่เมื่อ 5 ม.ค. 2025

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  • @alexscott1257
    @alexscott1257 4 ปีที่แล้ว +5

    Brilliant! I love these videos with the double camera view it is fantastic for the demonstrations and seeing exactly what you are doing with your hands. I am finding all of your videos so helpful! Many many thanks ❤

    • @PIANO_LAB
      @PIANO_LAB  4 ปีที่แล้ว

      You're very welcome! I'm so glad that you found them helpful!

  • @lizweekes8076
    @lizweekes8076 2 ปีที่แล้ว

    Very helpful to watch from above your hands and from the side. Thank you 😊

  • @Starritt_Piano
    @Starritt_Piano 2 ปีที่แล้ว +2

    Your ideas are so interesting as always!!! I was also doing some research into circular action of the thumb and tried it out in my own playing the other day and it has eliminated all the tension problems, plus I feel like I'm not tonally hitting a wall on the louder dynamic by implementing it. A Russian physicist Ivan Kryzhanovsky wrote books on piano technique that was mentioned in a thesis about Anna Schmidt-Schlovskaya and her ideas, and he explains that circular thumb action occurs at the base where near the wrist joint so there's flexibility for the whole thumb to move in one piece rather than relaxing at the tip and balancing it at the base to ensure all the joints are released after it has been played (for example in a leap, widely spaced chord or octave). I love the sound of the harp even if I don't play one, and found out a few ideas on the Russian school as I was curious to learn more, then found out that the thumb was articulated with a circular action rather than closing over the index finger and wanted to experiment with that in my piano practice. I found that my tone opened up and I detected the energy of the ffinger action following the natural shape of the palm, as oppose to treating each finger separately in a mechanical way as Lebert and Stark advocate. Please keep your videos up, they reenforce in such a concise way and your ideas are easy to follow. Too often piano technique becomes so scientific you end up losing interest, but this channel is just so amazing and it's making me think of things I haven't even thought of!!!

    • @DavidMiller-bp7et
      @DavidMiller-bp7et 2 ปีที่แล้ว

      Your input is also always interesting. What happens with the unavoidable thumb is crucial to good playing. I like your attention to anatomical and physiological considerations, where understanding should start. Natural shape of palm is also my experience with C's technique implemented over the past 4-5 months. Someone called it a parachute touch, implies softness but not necessarily flaccid. EG and the "Taubman" tribe, I might add Martha Argerich, is very precise, decisive and muscular looking, they all sport what Craig and others call the strong, obvious "knuckle bridge. It's not dreamy and soft. Sets up the hand for it's best potential. Thank you. Noting your comments. Agreed about the scientific tradition as opposed to the aesthetic approach. Artists get it.

    • @DavidMiller-bp7et
      @DavidMiller-bp7et 2 ปีที่แล้ว

      But is relaxation within strength.

    • @Starritt_Piano
      @Starritt_Piano 2 ปีที่แล้ว +1

      I think to use the term strength and relaxation to describe the same thing causes confusion. Irina Gorin describes the process of going from tension to relaxation wick and immediate, but it takes weeks of non legato with 3rd finger, the longest finger at the end of the arm, to understand and experience it without thinking about it. Nancy Reese describes relaxation in different terms, suspension (such as suspended arm rather than a relaxed arm) as she’s saying exactly which actions occur in the body to achieve the same result through biomechanical analysis. She did a wonderful interview with a jazz pianist in California on her story through injury and how she works with pianists with focal dystonia. th-cam.com/video/j53M4XpenG8/w-d-xo.html

    • @Starritt_Piano
      @Starritt_Piano 2 ปีที่แล้ว

      @@DavidMiller-bp7et Konstantin Igumnov said that all of the other muscles should be relaxed or free except those that are involved in playing. Rae de L’ile who is a technique spscialist from New Zealand opposes the idea of the word relax as that usually translates into collapse, so she prefers to use the term release. She has a method out called Fit 4 Piano explaining all the movements and how to apply the gestures in standard repertoire.

    • @Starritt_Piano
      @Starritt_Piano 2 ปีที่แล้ว +1

      @@DavidMiller-bp7et was it Penelope Roscell you looked at regarding parachute touch? She has a book called The Complete Pianist with tonnes of exercises both at and away from the piano.

  • @josephinebrown6631
    @josephinebrown6631 2 ปีที่แล้ว

    Thank you kindly🤍

  • @mohanshawcellist
    @mohanshawcellist 3 ปีที่แล้ว +2

    Hello Craig! When to use forarm rotation versus circular motion?

    • @PIANO_LAB
      @PIANO_LAB  3 ปีที่แล้ว +4

      Great question! Generally speaking, you would use rotation when you have notes going in opposite directions (like an alberti bass or a trill) and circular motion when you have notes going in the same direction AND changes in direction (just not on every note) AND large intervals. Think of an arpeggiated C Major chord ( the notes: C-E-G-C-E-G etc.) Notice how the notes go both in the same direction AND change direction AND have large intervals. Hope that helps! I think this would make a good topic for a video too...🤔

    • @mohanshawcellist
      @mohanshawcellist 3 ปีที่แล้ว +1

      @@PIANO_LAB Im still a little confused, for example in scales its all in the same direction and we use forarm rotation Please make a video about this topic 🙏🏾
      Thanks a lot

    • @elisaperea3677
      @elisaperea3677 3 ปีที่แล้ว

      Yes please! Make a video about this question, he is not the only one confused 😅, I've just watched one of your videos about rotation (so good by the way) but for example with the etude op. 25 no. 1 from this video, I thought that you needed to use rotation cause I watched Rubistein using rotation, I think 🤔.

  • @ogomotojin
    @ogomotojin 3 ปีที่แล้ว

    Thanks again for the tutorial.
    What was the first piece in the set of "more examples" at 4:38?

    • @PIANO_LAB
      @PIANO_LAB  3 ปีที่แล้ว

      moszkowski etude op 72 no 6

    • @faclonx6275
      @faclonx6275 2 ปีที่แล้ว

      @@PIANO_LAB thank you will this help for moonlight Sonata 3rd movement

  • @lisaamusic
    @lisaamusic ปีที่แล้ว

    THANKS

  • @Tautropfenoase
    @Tautropfenoase 4 ปีที่แล้ว

    Thanks for this good example.🤗

    • @PIANO_LAB
      @PIANO_LAB  4 ปีที่แล้ว

      You're welcome!

  • @zeroossi5967
    @zeroossi5967 5 ปีที่แล้ว

    Chopin ocean etude?!

    • @PIANO_LAB
      @PIANO_LAB  5 ปีที่แล้ว +4

      Hi, the chopin excerpt is from the "aeolian harp" etude. Thanks for whatching!

    • @zeroossi5967
      @zeroossi5967 5 ปีที่แล้ว

      Could you please make video about Chopin ocean etude ?

    • @PIANO_LAB
      @PIANO_LAB  5 ปีที่แล้ว +2

      @@zeroossi5967 Ah, I see! Yes, I will add it to the list of upcoming videos!

  • @RanBlakePiano
    @RanBlakePiano ปีที่แล้ว

    I wish I could hear you

  • @Jack-hy1zq
    @Jack-hy1zq 3 ปีที่แล้ว +1

    Very informative. Your piano needs tuning. It's off-putting.

  • @DavidMiller-bp7et
    @DavidMiller-bp7et 2 ปีที่แล้ว +1

    Reprising Craig's tutorials again from the beginning. It seems to me that we want to keep the parts in constant motion to keep them from stiffening in a more frozen place, like rigid positions, even at rest, constant movement doesn't allow rigidity, cause of tension.

    • @Starritt_Piano
      @Starritt_Piano 2 ปีที่แล้ว +1

      Also look up Barbara Lister-Sink freeing the cage bird videos, they’re towards the bottom of the videos section on her channel 😊

    • @DavidMiller-bp7et
      @DavidMiller-bp7et 2 ปีที่แล้ว

      @@Starritt_Piano Just looked at Pts 1 + 2. Very fine info and sophisticated presentation. "Just the right amount of tension, not too much or too little." Also, the key to hand position is "the natural arch" of forearm to wrist to hand, Craig calls it the knuckle bridge. On the big bad 10, I think I'm doing pretty good. Occasionally, too dramatic looking as if body is playing the music. Sometimes that is camouflage for not knowing the music confidently enough.
      Watch Argerich. I'm on a good track, I could follow C's teaching slowly and start slowly on the new techniques. Musicianship was already ingrained. Thanks. I'll check her out more. General, piano regardless of style, wisdom: "Stop doing stuff that's unnecessary, it never helps." That applies to vocal tech also.

    • @Starritt_Piano
      @Starritt_Piano 2 ปีที่แล้ว +1

      @@DavidMiller-bp7et hahaha I’m an emotional player and re-imagine symphonic textures so I let go a bit too much, so I’m working on my intellect for my performance control which requires a lot of mindfulness. On recordings I hear breathing and humming from the pianists that are really expressing themselves, even stamping their feet for rhythmic emphasis or nail clicking on keys for extra percussive effect!!! But I need to remember to serve the music and not get too caught up in the physicality. The piano world is weird and wonderful!!!

    • @DavidMiller-bp7et
      @DavidMiller-bp7et 2 ปีที่แล้ว

      @@Starritt_Piano Going through the dissertation. I've seen a lot in the music world, esp. singing and piano; if I could gather it one armload it would be that "We are in the service of the Muse, not the other way around." Big stuff.

    • @DavidMiller-bp7et
      @DavidMiller-bp7et 2 ปีที่แล้ว

      @@Starritt_Piano You can hear Glenn G singing and rattling on right with Lenny looking on, mouth shut. Working through the PhD material.