Надо заметить, что такая техника игры присуща только для тех, кто играет классику, но не в других стилях и жанрах. Так что не стоит заморачиваться с такой ёрзающей туда сюда рукой тем, кто не классик)
*Click bait !* Few things are good (weight management), others are outdated (high lifting of fingers, circle movements of wrist and fingers, lifting of the wrist above the horizontal, etc). Rather, one should look at the polish school.
@@kevinhenle3895 I think it's the whole teaching that is happening there, legacy from Sztompka/Paderewsky/Chopin/Liszt. BUT ! In general, teachers may not understand deeply the teaching they received and may have a superficial/wrong/inefficient approach; I cannot tell if every single teacher there understood the method. The polish school also has ramifications in France (Fassina), and you may find classes at Ecole Fassina for certain (but again, I can't assert if they deeply understood Fassina's teaching).
The physical side of the art of playing piano is extraordinarily interesting for us, however the general population don't have any idea of the behind the scenes work that goes into playing repertoire.
@@MariaSaboya Bonsoir Maestra Saboya, il y a quelques éditions musicales italiennes et maisons d'édition : éd. FLORESTANO éditeur : CURCI et. CHARGER et. SOUVENIRS et. DORMIR. Ce sont nos maisons d'édition italiennes. J'espère qu'il pourra être utile à la publication de votre livre qui dès sa sortie j'aurai le plaisir et l'honneur de l'acheter. Je m'appelle Alessandro et je suis un pianiste concertiste du nord de l'Italie. J'ai étudié avec un élève d'un élève du Maestro Zadra (l'école de piano du grand Maestro Vincenzo Scaramuzza). Cordialement à votre disposition.
Je vais étudier ça minutieusement. Je joue du piano depuis toujours mais n'aillant jamais eu de prof, ma technique, mon poignet avant bras peuvent être très tendu. Je m'en suis rendu compte en me filmant. Ça me fais peur de me dire que je dois limite reaprendre tout la technique. Tout ça en prenant en compte que j'ai de petites mains..
Has Maria talked about the importance of the subscapular muscle (sour-scapulaire en francais) for the upper extremity? And the pisiform bone and it's causation of 5th finger flexor digitorum profundis?
The secret for a "relaxed" technique is to "relax" thé shoulders and to integrate thé energy that comes from thé seat into thé fingertips. The forearm must adapt to the différent lateral positions while maintaining thé shoulders down and thé hands resting on thé keyboard. In so doing wé direct thé mouvement to thé bottom of thé keys.
Greetings 🖖🏽 May I ask a question? Everytime I try to do the exercise with the finger lifting and then dropping it feels very uncomfortable under the hand in the small ligaments next to the muscles .... but I know one needs to train this to build speed and power in the fingers. Could you help?? The explosive hitting of the keys makes the keys hit my hand back 🥺😩😅🙏🏾
You are using some excessive contraction of your hands and fingers. There is too much "tension" in your actions. Lifting a bit the finger and hitting the key in staccato should be done quickly, and "total relaxation" follows each gesture. You must do one by one, with relaxation in between 2 mouvements. You can send me a short video if you want.
@@MariaSaboya I would love to. Because I think you have GREAT technique among others gifts. Also a student of Martha agerich told me that she does that exact exercise so I know the value of what it can do with one’s technique 🙏🏾 How can I send it to you? Greetings 🌎
Maria à été mon professeur pendant mon adolescence . C'est une pédagogue hors- pair ! La pédagogie c'est aussi un don, et elle a ce don. Les partitions deviennent complètement lisibles avec elle. Maria connait vraiment très bien la "mécanique" de la main et l’engagement du corps dans le jeu pianistique . Tout devient facile avec elle !!
Je suis content pour vous 😁 !!! Hélas dans les conservatoires italiens on ne trouve presque plus de vrais enseignants 😪 et l'on finit par se démotiver !!!!
@@pars4709 identique en France poubelle!!! ou la majorité de la population a été phagocytés par les idées de loisirs plaisir etc. Il y a encore quelques Conservatoires qui fonctionnent très bien, mais beaucoup sont devenus des garderies où les enseignants sont contraints à faire de l’occupationnel. Pauvre France ! Tous ces sachants comme il se nomment eux mêmes, ne se rendent pas comptent qu’ils sont en train de ciller la branche sur laquelle ils sont....
Hi dear Maria ! Hope you are doing good . Could you please show us some hand and finger exercises far from the keyboard that you personally approving them? is that also possible to share with us some of your personal experiences ( technique ) about etude op 10 no 1 ? Can’t wait to see more videos from you 💗
For Chopin Etudes I like very much Evgeni Kissin video, (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5hwOveZlugk.html) and also zlata chochieva chopin etudes (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-t1BrMctCvPw.html). In minute 4 she explains the étude op 10 no. 1 , remarkable. I never made any videos of Chopin Etudes, unfortunately.
And about execices outside the piano, what I teach is how to integrate the torso in playing. I ask the student to put his fingertips on the wood on top of the keyboard and push the torso backwards. The torso is a bit relaxed, and moves again forward in the direction of the piano wood. The fingers stop it, to prevent it from falling, and send it backwards again. The student is sitting in front of the keyboard when he does this. It helps to integrate the whole body in piano playing. Hope you undestand it. Good luck !
@Joe Vogue Dear Joe, it is very simple. The seat is the stable point where the impulsion comes from when we are seated. Therefore, on one side we have the seat and on the other extreme we have the finger tips. The impulse comes from the seat, all the way through the torso until the fingers. The torso moves sideways to follow the mouvement of the fingers on the keyboard. Therefore, the energy comes from the torso to the fingers. That is all. The pianist must learn to integrate the impulsion coming from the torso to the finger action on the keyboard. But the fingers must not be too heavy, otherwise the playing would not be free and rich in colors.
Hello, I do not give "lessons" on internet, but I can listen, comment and give some advice. You must send me a small video for that, showing your hands, arms and torso while you play.
@@MariaSaboya ok thank You, where should I send You the vídeo? Do You have email? Right now I'm playing Beethoven sonata 8 and turina's danza fantástica no 3 "orgía".
@@talentosmusicart1137 It is fine. You can send it to my email : saboya.mariasaboya@gmail.com If the video is too heavy you can send it through "Wetransfer.com" that is free and passes very well. I must tell you that I am travelling this week-end for the whole summer, so it may take a few days before I can answer you. But you can send the video that will not be lost. I will listen and comment it as soon as I can.
Brava, ma quando si decideranno a dare l'onore dovuto al grande R. BREITHAUPT (1905) saccheggiato da tutti,da SANDOR, da BLANCHE SELVA e altri senza mai citarlo . Quanto gli deve la grande scuola russa?
(il y a 7 heures) Compte Monsuor a commenté sur RU-vid Partagé en mode public - 21 nov. 2013 Check in on Maria Saboya from Paris. She is perhaps the only great great teacher that remains in this field of expertise that I've ever known. Is there someone equal to Dorothy and Maria in the America?
Compte Monsuor a commenté sur RU-vid Partagé en mode public - 21 nov. 2013 Check in on Maria Saboya from Paris. She is perhaps the only great great teacher that remains in this field of expertise that I've ever known. Is there someone equal to Dorothy and Maria in the America?
