The longest part of my piano life
- Image via CrunchBase
I agree with everyone who realizes there is a pretense of bodily movement that is just showing off, and for myself for the longest part of my piano-life, was convinced it was all showing off. But I’ve changed today and use scientifically, specific wrist movement for much better tonal control. About a year-1/2 ago or so I was looking for some Mozart on Youtube and discovered young Celia, the prodigy from Raleigh North Carolina.
I watched her graceful arm and wrist movements and began to realize the obvious benefits. A piano player friend of mine went to New York and spent $200.00 for one lesson with Gyorgy Sandor, and came back saying that much of their lesson was discussing the necessity oftentimes of a high handed drop into the keys, and we will rob ourself of the wide range of dynamics the piano is capable of otherwise.
Now even Glenn Gould, used arm and wrist movement, and it doesn’t appear showy. It looks real and for a purpose. Watch him when he was young, usually in b&w on Youtube. It may be in his youth he did overdo this a little, maybe. :)
But working for tonal control, resonance control, and expression is 100% the main thing we should always be working on. Crescendos and decrescendos.
And Anne is correct, the first and primary technique is in our ears, in our hearing. WHAT we’re listening for. Engaged EARS as we play, is just so important.
But I would add another matter and that is the real art of pedaling. I think it was Chopin who said the piano has a pedal and should be used. And the real fine art of pedaling is so very effective. And you’re allowed to use it, so use it for beauty, mystery, expressiveness.
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