I am a visually impaired pianist based in bridgend, South Wales in UK. I believe performing means the sense of sharing with others and my Förster friend is my ultimate companion!!! I love absorbing different international cultures and my favourite composer is Ludwig Van Beethoven.
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Theses guys will never be the same after your machinations have improved their basic ideas dramatically. Your takes are more enjoyable than the originals. You are displaying very noticeable development in your hands. They have become really beautiful piano hands; more air under the palms and that L pinky that we see is so strong and educated; it meets all the demands. Your playing is uber entertaining and original; this isl the newly minted musical art which is breaking with the past, while giving a nod to it for it's time in the sun. The walzes are fun and you make them so compelling with all the little unexpected twists. We are overjoyed that you had an inspirational and entertaining time in Vienna. You soak up all aroung you and it comes out in your musical creations. Welcome back. We can't go too long withour our Rachel fix.
Creative brilliance in dimensions that are probably beyond the uneducated mass tastes. As much as you thrive on public performing, you are an artist first true to herself. I loved a number of things-you showed you can play on the sleepy-slumber side of the mood for long streches, no drama bombast which would have been out of place. The second piece was a mf, very limited quiet rise to a little more, just right, color and texture, still well under control. Amazing that you can play and read braille at the same time, a dimension that few of us can comprehend, it's a doing thing, not a seeing thing. You kept the mood perfectly throughout. Totally dedicated to your artistic model and vision for the session. I sense I am seeing even more tech development of the LH, observable from the camera angle; your hand remains very closely parallel aligned in front of the hand. You move, even now smaller distances, rather than the little "flip" you copped to a year ago. Beautiful, smooth, and still all on time. Your touch is sensitive and this highligts the lower dynamic ranges. Like never above an mf. The general public may not understand this but the artists and those on cutting edges sure do. This is wonderful. Some vocal progress would render you even more dimensional than you are, beyond drumming, very successfully, on the box, your children's rhythm toy, the swishing of the blanket instrument. You are amazing to all, compelling to cutting edge artistic sensibilities. Still 3 Fridays left in September. We are seeing our first few showers in advance of the more constant rain after September.
Some input inspirations. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-j1M6mSIDV7o.html Slow and languid; people talk about Johnny but consider Erroll's perfect accompaniment ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fk-jh3xocd0.html Dinah's more uptempo classic; I first encountered in on the hit parade in 1962 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-7iVjcMDPC14.html Sarah Vaughn in Sweden 1959. A very youthful 35. She also played piano; I just got her piano/vocal arr. of September Song. Doing my bit for the pianosphere. Few these days compare to your improvs.
Here's hoping you can reprise another September in the Rain and September Song before September is gone. I brought out my Rain again arr. Brent Edstrom. It features a LH with detached rhythms which simulates falling rain/teardrops against a right hand carrying tune. B material is walking bass riff, more bold, on the tune in LH, jazz treatment. So tender, sentimental, wistful, a touch sad with season as metaphor for passing life, love and loss. "To every word of love I heard you whisper, the raindrops seemed to play a sweet refrain." Brent's arr. builds in his take on that "refrain." Effective tone painting. Hope you can get to it this month.
You are one wild and crazy woman with your hijinx on the black and whites. You once described another channel host as "she is full of imagination!" In my, now rather extensive milking of internet piano fare, I find no other player can match you for adventure and command of your piano persona to pull it off. Mortensen contends that the most original music now comes from improvs on original settled material. He is the foremost online proponent/formal teacher of improvisation development. I may watch this again as I just noticed the "show transcript" mode and often your own voice does not register with me clearly. However, you are good at extroverting your emotions all the time. Your new thumbnail photo is very telling at catching you as your really are. Very nice smile, bright and playful pose, look is attractive, very important. Pegs you as a playful extrovert. The cam angle does not feature your RH much, I assume that you are RH dominant. We see the LH very clearly. You are more on your fingertips than I have past seen, sitting typically high, even leaning back when more distance needed from shoulders to hands, keeps the arms in decided slope down, supports more verticality of hands, as needed. You keep a small hand which means you move properly, don't stretch for positions, ulnar deviation is minimal, only as absolutely necessary, before immediately reverting to the small, inline hand position. One thing I've noticed over the past year is how much the L pinky has developed; the big muscle on the outside of the palm is now bulging, showing itself to such good effect, strong downstroke with arm weight with Ms. Pinky. Really beautiful hand positions. Interpretively, you have few peers, even now at your age. You appear in complete command of what you are doing, using most all of the keyboard just as freely as closer in placements. The variety and fresh vitality of of what you do, call it, "rework it and take it somewhere else" so naturally, withour seeming effort, is a marvel. We can't wait to see what flows from your fertile mind, and are never disappointed. You hold the observer in your compelling adventure. You are becoming a very, very fine player and performer, and your musical sensibilities are so free and brilliant one can easily imagine a matching career of composing and arranging your inspirations for posterity and enjoyment, on paper, but they might even dance around, play hide and go seek, on paper/digital scores. You are not only technically proficient, your playing always has gravitas, even when playful, call it guts, earthy, it is never dillitantish or shallow; always connected to who you are. You may call it "emotional" but it is also impressive physicality. I so enjoy and look forward to your Friday releases. I'm not just a fan, but you are in a sense a teacher, as I watch closely what you do and see how that works for me. So, your performances in this intimate setting is a teaching/learning resource also. I just may have some ability to articulate my observations. "Brava, molto brillante!" You are in a class by yourself, a unique creature in a world of mostly imitators. Molto Impressionato
My intro was this: Ciao tutti, mi chiamo Domenico Scarlatti!!! Posso avere un cornetto per favore??? I hope to do more vids on my phone as well after my birthday, I’m asking for a proper phone stand rather than the little flimsy wooden one I have at the moment!!! I’ll then have a reliable backup plan as well as my laptop which is getting on a bit!!!
@@Starritt_Piano Your hands have become really beautiful, smooth, consistent, strong and very efficicient. I've started sitting another 3 " higher on my circular stool just in the last week. I raised up 3 inches from very inefficient and unhealthy about 3 years ago. If I change my height again; it won't be down. Seems very efficient right now; learning the new angles for this. I'm admiring, wish you could see him, Erroll Garner, sits so high and his fingers glide over the keyboard like on ice slick. You have a big future, kid; my race is also "getting on a bit." Still very active; on 10/12 I'll be 78 years young; Happy early Halloween.
@@Starritt_Piano We live in a wonderful time-re: piano, we can avail ourselves of some of the best teaching on the planet. I'm seeing, now, Lang Lang, on a channel talking about playing, not much actual demo, just talking about different general considerations, practicing, relaxation, ....also, I Perelman talking fiddle but also music in general, practicing, etc. When guys like that talk, people interested in achieving excellence should be listening and employing their advice. Again, wonderful time to be alive on many accounts. I could not have made the piano progress I have in the last 6 years without the very helpful teachers I have bumped into online. And some players, like yourself. Wonderful to see you grow into an outsized performer and creative interpreter. Your schtick is what Mortensen considers the cutting edge of original new music. He is worth listening to, also, on many accounts. Keep the faith, in yourself and a logical universe where peace ambassadors are valued.
I think I remember this piece, when you did it, not long after the New Year. I would have commented, I think. Well. Simply put, you were a brilliant Beethoven here; You and Ludwig have an affinity, I sense. fff or ppp, you are an emotional player. Can't see the RH but LH is so strong and agile on those, often furious, broken chords. Arps and long scalar riffs sensational. Yet tinkly trills. Technically wonderful, all the interpretive intent is obvious. Astounding, you should be on the big stage. This is a very high degree of difficulty. You make it look easy, yet with gravitas. You have the strength for this. Just what L v B would have intended. What you have is so special. Thank you for this. Wow!
I don't think extroversion can be learned; it's either there or it isn't, sort of like perfect pitch. What can be learned is how to get in touch with it, live out of it and use it, if it is there naturally.
I have watched you grow technically for the last couple years. You must be still working at it. Really impressive 8va work in this one with very effective mood change and lighter touch but with clarity; I see you listening intently to guide your pathway. Feathery, lighter touch still with clarity of each line, melody is always apparent. Now, when I first met you on Piano Lab chatting, you mentioned immediately that "I am an emotional player." This is apparent after following you; as such, you have what scouts are looking for in a concert artist-"emotion." We might also call it passion but it implies a deep strength and forcefulness to have your inner vision expressed. I sense this confroms to a broad model of personality traits simplified down to weight on the extroversion or introversion sides of observable behavior styles. I see very few of the greats in any era in just about anything where performers can't be described as more emotional/passionate "viz a viz," yes, that, when compared and contrasted with styles that could easily called more "cerebral," more noodling in the head, without much outward expressive. Even in your softer and liltier sections, you are always robust, giving them the same emotional force as the loud sections with more vibrada. The "cerebral" is not you; your emotion is always there, appropriate to the music as anyone I can think of. This is what will carry you into the hearts, beyond just the minds, of a faithful public. They love you, they don't just appreciate you, for giving so openly of yourself, of what's inside. The world in every venue is hungry for this type of hero, because they are in such short supply, they desire to identify with this type of charisma, to willingly enter your story. You are a rare treasure, but you always seem to be under control with good human relations, yet always with gusto force, an emotional/passionate player because you are emotional/passionate person. Easy call. You remarked about me, "You have a way with words." Well so do you, but your expression through the instrument is rare. I have been participating in vocal and other instrumental music as performer for many decades and have been considered one with pretty good observation skills, in general. It just happens. I may be the long winded Russian novelist of the RU-vid commenters; if people can stand that, I may have someting of value to bring to the players and teachers I see parading on social media spheres; there are a lot of wonderful teachers of technique on the piano, I have found a number, but very few teachers/players are in the cohort who give everything, inside them, they've got, every time out, because that is the natural expression of their inner life. They hedge their bets, don't take risks. We want to see risk taking and success in big stakes scenarios, which a solo performance always must be, in its own right. Any mistakes are forgiven for those whose efforts are from the heart, not just the mind; they have that characteristic, "je ne sais quoit," to carry their audiences with them. It's what the world needs more than anything-folks who give their all every time, and letting the chips fall where they may. How people come to be this is a mystery but it is also, "Je sais quoit," to detect and describe. You have a performing future, as well as all the other stuff you do well. I am daring with these words, you are daring every time you go the piano; believe in yourself and your instincts. Sorry for what too many words may bring, but this is the real me. Your improvs are daring but always the real you. I hope this is helpful.
Another brilliant offering; was that of Mancini's Peter Gunn theme in there among the adventures? Although I can't really hear it, that really high note almost has a pitch to it; you can probably hear it; very nice rotational movement on the scalar figures, hands over without a break; noodling with each hand fingers at hypersonic speed. I have always liked the touch mediation with weight; you stood on the fingers of the LH while waiting for business. Extreme diversity of mood and dynamics; a pretty darn complete package; I mean completeness with repleteness, overflowing the package. I love this kind of adventures strewn with references but made your own. Mortensen should watch you. This is very impressive; can't understand why you are not playing major venues in the world. You are there now.
Hahaha yes it was Peter Gunn theme!!! Yes I did play at a venue a few months ago in Hong Kong with the Youth Orchestra over there, so I am still doing that and then I'm performing at Sage Gateshead in an ensemble with Royal Northern Sinfonia!!! The highest note of the piano either can be a thud or a ping, I think it's both things!!! It's so interesting how different pianos have different resonance responses depending on how they're set up, so I always find it an experience performing on unfamiliar instruments because you don't know what you'll get!!!
@@Starritt_Piano I also like how high you sit, eliminates a lot of potential issues. I see few that sit as high as you and me. If you could see how high Erroll Garner sat! Pretty vertical playing.
"Take" indeed. You can make even Burgmuller compelling. Nice slope down of forearm, finger tip contact, very nice, efficient hand conformation, great arm mediation of touch with arm weight, you trill and tremolo super with rotation around a knuckle, great octave work...tocatta style under complete control, and muscially going wherever your brilliant mind and hands want to take us. Virtually every articulation offered to perfection. I don't know any other player EVER who offers what you bring to pianistic creativity and execution. AND you are ALWAYS entertaining, covorting around the keyboard without any apparent difficulty, treating us to episodic delight after delight. You are having fun and we do too. And you look good doing it.
Wildly and creatively brilliant. You do get around the whole gamut of ranges. Of course, I loved the pieces; could listent to it and you all day doing nothing but riffs from your prodigious musical mind. Technical mastery of all sorts of articulations: tremolos, trills, arps and wonderful leaps into the abyss, which always sounds right. You are using more arm weight here and often I'm glad to see no break at the wrist, (fore)arms sloping down all the way to the knuckle bridge, from height which is more commanding; hand shape is marvellous, nice rounded with plenty of leverage on 5 and 4 for emphasis. Proprioception second to no one I've seen; so attractive and admirable. You are advanced beyond the common taste; I respect that kind of courage. Of course, the jazzed up mode I find compelling. You always pull it off for my taste. Best of for your jazz projects; I am excited to see what you will create. Virtually all great perfomers had to get their footings in public ale houses or clubs. It sharpens the performers instincts and learns how to manage audience expectations. You will be a big hit. Would like to see nuch of it. Have you ever worked Gershwins Preludes? My worry there is that you out-Gershwin the Gershwin himself. You are that creative.
Always compelling to see what you can do with stuff. I like yours better than Big B. Mortensen, who you know focuses on improvisation, makes the case that improv is the most valid music created today. Often, playing the piece verbatim and then going ot creative tangents to spice up what has been on the dusty books for hundreds of same-ol' same-ol' years or centuries. You are an improve'er par excellence, right on the cutting edge of what is really "new" in music. You have a big future. You are on my URL, universal request list, for connections that will bring your brilliance to more people. The light in the show is also trilling to your riffing. Nice work, again; nothing trite with you, Missy Marvelous.
Looking good today. Great bagatelling. You are always unpretentious-very attractive quality. Also, love the alliteration. It works for me and most. Does "bugging" have some connotation in GB different from elsewhere? Shows lots of musical taste and sensiblity, mastery of and creative adherence to a style.
You are one wild and exciting woman and player. This is on the brilliant side of crativity. It is compelling. You feel and hear every pulse in the rhythm. Great display of arm weight and it's value. Showy but effective stuff. You are getting your kicks on this Route 66. You are off the charts, into insanity and coming out of it. Absolutely wild about the video effects supporting the playing mood. For me, Prokofiev is a guy who rocks; if I were a classical player he would be among my faves, along with Scriabin et al. Impressive work on the DK. All that he wanted, percussive and florid riffing; very expressive work from out here. It makes sense as a whole under your hands. I have been watching you for some time; you have progressed by leaps and bounds over the past couple years, and you were brilliant then. I look forward to Friday, to launch into the weekend with these treats from your soul and body. Impressive!
Aah yes I don’t think the sound and image quality was that good, it was just recorded using a phone so the viewing rate got a bit stuck!!! So it was my decision to take it down to avoid channel clutter.
@@Starritt_Piano Understand. The only cover I saw was Brubeck; don't know where the original tune comes from. Hope things are going "swimmingly" for you this summer.
"Pianistic gesture." A brilliantly creative descriptor. You are a champ at that, a composing and arranging career awaits you, beside anything else. You are as original and versatile as anyone I've come across, and that's a lot. Your creative impulse is off the human charts. Enjoyed this as much as all the other brilliant offerings. You are always a breath of fresh and soothing air, even at sturm und drang. As you sit, you will go a long way. You know I/we adore you and your playing story.
Thank you for the wonderful performance, Rachel! The dreamy introduction and the spicy chords at the end were all moving. The Debussy-like atmosphere enveloped everything naturally, creating a fantastical experience where "Danny Boy" shimmered through the sparkling water.
Do you know this one and this composer? I never heard of him, I'm pretty well travelled around the composer world. With your penchant for Spanish liveliness and overall interpretive prowess, this would be a good one for you. Denis uploaded this one today; teaches a full tutorial on it as well. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-br7-AnPH5tI.html I thought I had commented on Folia, apparently not. I do this frequently, pushing the wrong button prematurely, like my piano playing. Basically it was in the vein of me liking yours better than Pachelbel.
Ok. Spicy chords indeed. I was out of town, watched your offering, was not in a position to comment easily. Genius, brilliant creativity ala Starritt. I thank you for the effort and the little citation from Yamamoto; how could anyone object to you sharing your brilliance with this classic! Sometime, I would like to hear Yamamoto's pieces quoted to see what you do on a piece that I now know, like how you take such and such a chord with the inversion supplied. If it's not enough content for one session, one could add the 2 more basic treatments and demo how a composer constructs a piece by adding layers, etc. You are an incomparable improvisor, that much is already clear. Somebody tie this girl down and get a hose; she is on fire! I have played this piece with different arrangements and have performed it vocally many times in different treatments. I never don't get weak in the knees and my mouth tremble on the line, "For you will bend and tell me that you love me, you'll kneel and say an Ave there for me." The visual destroys me. We are British drama-philes; currently taking in Britbox's original "Blue Lights," set in modern day Ulster with an overhang of Belfast and the influence of the times of the "troubles." Strong stuff, Ms. Spicy Chords
I just took in Helen's first lesson on 5 ish cardinal mistakes, all having to with hand placement; she plays and demos with rather, not unusually so, yet noticeably high, strong and relaxed wrists which, like what I have come to, allows my fingers to dangle free without tension when not employed. The fingers more or less hang until the use of "healthy tension" supports their action. My mentor, DenisDhanove calls the 2 phase piano action "crane and bridge." When the hands are lifting from the board, the arm acts as a crane, to lift; when contact is again made, the arm and hand/fingers act as a bridge to support what's going down. I sense that for me, holding my wrists too low, not below the board, adds tension and frozen weight to my game. When not employed for some specific purpose, my hands are relaxed because the high wrists are strong due to the knuckle bridge support. I describe my new mode, the last 6-12 months as playing with much more verticality than I did before. When not reaching for something, hand goes back small, into a relaxed little ball. I subscribed to Helen's channel. Her talk was spot on in terms of how and how "not to" play the piano. I will catch up on her lessons and report back. Thank you for citing her; you have a lot of studied depth.
Rojas plays with very high, strong wrists, but not much observable rotation. He relies on his prodigious and weighty forearms to move position. The "El Choclo" would also be a good one for you; you have similar passion and styles. One almost must be born with this dimension of passion. Music made and calling forth to the musician. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-o20YCzej5_s.html
Alexander technique is so helpful especially when you’re flagging or tired and need to bring your awareness back to breath and physical poise. Loads of singers study it to develop kinaesthetic awareness as they use the whole body to project their ideas and emotions with their voice, so pianists need to do the same even though it’s mechanical by nature.
@@Starritt_Piano A ton of value via Alexander Technique. I had a long term voice teacher who was qualified and we used it many times in various circumstances. Emma is really big on vocal-izing in piano technique, singing mentally along with the piano lines. She refers to this aspect as "intonation," like "into the notes" in all parts; it is a basic tenet of her schtick. Awilda was also a qualified teacher of Reiki, and we used all these methodologies many times. All good stuff.
Brilliant playing-lots of dynamic and dramatic variety, virtuosity. I particularly like the way you present great music which is not so well known, and master it, all over it. Also, the way you have left Hanonism behind and work technically within real music. That is inspirational. Many of us do the same. Bowen is a great find and study. I keep watching what you do; I find it most amazing that you can get such expression with so much lower wrist. The palms are parachute shaped but the wrist is low. You have incidated that this is by design and development. I printed out your sermon on Craig's site about a year or two ago and was going to talk to you about it. I found the paper sheets a few days ago after being chewed up by my dog. It indicates that you are master of your own proprioception and can get the hands directly over the new positions and come straight down with arm weight, and get where you're going on time, using very little forearm rotation to navigate the board. Your pallette of arm weight and precision over key positions is amazing. I have seen Ekaterina M use about as much arm/body weight as any player ever; your approach is similar. We are all one of a kind snowflake designs with all sorts of room for variety, history demonstrates this. I sense there is too much conformity out there. Weight use, hand position and finger choices should be based on one's unique physiognomy and circumstances, comfort and efficiency. You do this well. You are more passionate modern jazzy romantic. You are captivating and your playing is compelling. Hope you are finding the progress and success you so richly deserve. BTW. I talk often with M Yamamoto, a complete and approachable, supremely articulate, humble, nice guy, multi faceted musician-orchestra and band conductor, arranger for all sorts of instrument combos, pianist often playing his own stuff. In email he has answered several questions I had about rhythms, including his on considerations about learning his pieces. He is now a treasured resource. Would like to hear you on his 2 advanced arrangements in his Popular Folk Song publication: Amazing Grace and Londerry Air. I am now advanced enough to tackle them, in various stages of development. He is great for advancing my playing, has a few "crampy" chord positions I had never encountered before, very unique harmonies. Nothing trite about him. He is a peacemaker and lover of children, nature and animals. I sense you would find in him spiritual and well as musical depth. You're a fave.
I haven't forgotten about Yamamotto arrangements--I'll do one this week--I'm thinking of Danny Boy to honour my Irish relatives on my father's side in Belfast--they do love that song!!! If I build on the easy arrangement rather than the advanced one it would be a lot easier to build on, would that be OK? Also your observations to technique are interesting--Helen Aun, an Alexander technique trained pianist, also disapproves of Taubman and Gollansky in the same way Nancy Rees does. She has seen Taubman students on video especially with Golansky and she feels that they're still playing with tension because so much about the rotation of the forearm is emphasised, exaggerating large motions before playing at speed. Correography is just as important as the musicality so Helen argues that every move has to be interconnected with the musical interpretation, for example if you focus on how you want to phrase a melody you focus on what part of the arm should be engaged, the body in balance rather than sitting straight and focusing on fingers, the inhale and exhale of the breath, the type of attack etc. If you only look analytically at what theoretically happens in the muscles without connecting and understanding the musical archaetecture and why, then the ears can't be engaged and they're relying on their muscle memory to get through a performance rather than engaging with the audience and presenting what the narrative is. I know that Craig Walstad on practical piano technique starts with wrist exercises, and he personally likes the wrist released first rather than having it all connected with the forearm because he wants to make people understand and experience about how natural it should really feel, we want to drop our wrists when we're tired at a table working, so it is a natural movement, but it becomes a habit if it feels extraneous, for instance if it interferes with the arch of the knuckles so the arch collapses (Lister-Sink Freeing the Caged bird excerpts on harmful habits is a good reference). For chords I always have to maintain my hand arch so I naturally need to be a bit higher than I would on single notes, so On a modern piano I never think about playing octaves with the wrist unless I am playing on an instrument with a really light action or a period piano that needs more control of the fingers, or if it's a cantabile phrase where I have to match hands and pedal. Wrist octaves don't work as well in Romantic virtuosic material.
I love Helen's shorts, for example this one ... so quirky and informative with the little tinkling effects!!! :) ru-vid.compu8CxroNbis?si=5Hq-xNpSLEGZHnLt This ties in with the wrist motion as Taubman followers claim that the joint between the elbow and the forearm initiates the wrist motion, further back in the arm. I think Helen's saying that if the hand leads and everything else follows it will feel more effortless and natural without having to think analytically or too much about the physical movement. I think Taubman's perspective of the wrist initiated from the elbow is to experience how it balances with the rest of the arm as one unit so there is a "sensation of no sensation" rather than separating the fingers and forearm out in different roles, that was the main concept. The main point is different languages and schools of thought are used to arrive to an end result. The thing with Taubman is it's not a method, even some teachers have different ways of explaining things. Taubman was not focused on the whole body like F.M. Alexander did, it was more about how the fingers, hand and forearm move together as one unit and the wrist leading from the elbow was a big part of that, the unit could not be broken. That's why there are loads of misconceptions as a result but it's definitely not a religious gospel that should be followed, every pianist has their own approaches and ideas about natural motion and may have studied with more than one teacher that gave them different mediums of influences.
Dmitri Bashkirov went with Chopin's idea saying that the wrists are like a second pair of lungs ... hahahaha it's about controlling the airflow in the lungs so they don't collapse!!!
@@Starritt_Piano Thank you; nevertheless, I have finally learned a "natural" forearm rotation; just in the last 6-9 months and it is very helpful with all the aspects of which you speak. Nothing should be taken out of overall context, that is to say, everything should work together, no aspect emphasized over others, which then will support the efficient interpretation one has as their vision, momentarily and overall. I see all kinds of extremely fine players who employ different amounts of rotation. I use it as needed, including varying degrees, for my spots. It really aids my navigation in terms of efficiency. Arm weight is a mediating infusion which can give more graded emphasis depending. E Mekatina uses as much as I've seen. One of the mentors I've added in the last 6 months is Denis Dhanov, out of the Ukraine, emigrated to Austria, just got a job as piano professor with faculty at Graz. Pretty big deal. He uses very little rotation that one can "see" but is blazing fast with his technique. Rotation might help him to become unlimited. Emma uses some but still relies on a frequent and wide elbow throws to get into position and then corrects back into alignment with a snap counterreaction of the wrist. I usually don't watch Mortensen for technique because he rarely teaches on it in demonstration. He's a prof, likes words and is terrific with them. He is an improv maven; believes that is present and future of music. Craig, who I love, helped me establish a basic technique on many aspects after traditional teachers did me dirt by not emphasizing it AT ALL. Go figure. I am forever grateful to him but I now have moved on to my own versions of his basics. I follow his uploads to help defend his positions against attackers who ply the traditional trade and tow that line. I am perfecting what Craig was laying down, melded into my own value uniqueness; I had no good technique, in the dark before about 3 years ago, had already been playing, badly and painfully, for 10 years, after a lifetime of singing. Will powr and work ethic actually led me into a bad place without a healthy technique. On this, I have an advantage in that I can carefully observe what players are laying down, even to slowing down the tape, to see in detail what I can't at speed or from a bad angle. Some fine players use little rotation, one being Eduardo Rojas, such a passionate player with little sausage fingers and hands, similar to Erroll Garner. That guy can make music. As I said Denis; Emma is her own stubborn,systematic person in many aspects. Love her contributions and help just the same. She has become friend as well as mentor. Some aspects of each one are where I depart ways. I agree with, and use for myself, about 95% of what Craig lays down. I disagree with his hand angle behind the forearm. I align mine, as parallel as possible, with each new position or move, right over the middle knucle, AMAP, and quickly do a small alignment, if needed, back to aligned equalibrium. This is the basic building block of my technique. You do pretty much the same. Denis and others have more ulnar deviation but still manage compelling playing. I sense that forearm rotation is not what people attend concerts to encounter, or any technical aspects unless they are pretty dry academics, of which I have had my fill. They come to experience Billy Joel. I have the advantage of sight on these moves; you have the advantages of sound, feel and pitch, to a degree that is probably incomprehensible to sighted folks. Both Craig and I have transcended strict anything, including the so called Taubman school. It is a good way to go if you are confused or unitiated into technique, or finding roadblocks, pain in playing, but I see it as a good place to pass through realizing such can become a cult. Last zinger: Edna Goldansky went to Taubman because she was having difficulty and her playing, which had become painful. Dorothy watched her for a short time and said 'Stop, I see it immediately.' "You are not using enough rotation." These places are where people go to fix problems. Edna has made a career out of it. Personally, I think her playing is a bit rigid, as you say, muscular , tense. One does not have to, should not be, rigid with forearm rotation. Relaxed, natural, easy rotation has really my upped my game. Here's one for you. I know your hearing is acute way beyond ours out here in the sight-o-sphere, but, can you hear rotation? Love you, love your stuff. U R one of the finest young talents in the world. Just trying to be respectfully helpful to those I love and admire, those whose futures could be more or less unlimited. I have been known to be decent from eyeballs to words.
@@Starritt_Piano I have gone through his beginnig and intermediate renditions. Now learning his 2 advanced arrangements. Any way you can weigh in on graded arrangements is wonderful for me, and Mr. Y. I would like to hear you on his 2 advanced arrangements, if you could eventually manage those. They are really great piano music. they would suit you, I sense. They would be great concert performance pieces.
No one can do what you do, in a class by yourself. When I was at Uni, I heard of a concert where they rolled a VW Bug onto the stage and the musicians commenced to plaster it with spaghetti and sauce, in rythm. The prof asked, "Is this music?" My unequivocal answer, "Absolutely." Don't get spaghetti sauce on the Forster.
Wrap us up in that sensual blanket of sound, like no one I know of can. Nice top, nice hair, full blankey, and greatness yet to be discovered. We trust your overseas trip was all brilliant. Some shades of Rach Vocalise, decending featured notes in the left hand. There's one for you to play with. Nice to see you open up. Wipe that keyboard, baby. I hope this is not a cry for help. The smily grins say no. Love your schtick.
Welcome back. Brilliant riffing on impressionistic ideas. You are one of the most creatively gifted folks around. Love all your stuff. You are a workhorse. Really enjoyable music. Really lovely. Nice touch.
It’s a new model from 2021, the company keeps the traditional piano making methods alive so everything is designed really carefully rather than only using machinery.
@@Starritt_Piano Which model? I visited the August Forster factory in Lobau, Germany, last year. I had a wonderful tour there and played on their exquisite pianos. August Forster is my favorite piano brand!
Oh wow!!! It’s 190, 6ft 4 … I love the tone of it!!! I have a recording of this amazing Balakirev transcription on one of Glinka’s songs that shows off the really colourful treble. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-L-Ka0uZBZhQ.htmlsi=rBb2LQRElobx2N8_
YT algorithm just recommended me this video. Is your piano an August Forster, therefore the name of your video series? These pianos are wonderful, and so sadly underrated. Also love the musical paraphrase of Schumann's May Lied.
@@DavidMiller-bp7et ??????? My question is genuine interest. I owned a Forster. I can't see anything disrespectful in my comment. And who are YOU btw?!
David is just one of my YT followers from Oregon in the US!!! Hes just being enthusiastic about me, he’s not saying you should respect me because I’m sure you do!!! Wow I didn’t know you have an August Förster. I actually have some concerto recordings with music minus one orchestra using this piano ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-fpH1crIHsr8.htmlsi=h6lCmMD_OCZpdt6m ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-m2sVNJX0Vjs.htmlsi=JWyPEcZ-esney3AIacfuakk
@@Starritt_Piano Dear Rachel, thanks for your reply. I am a retired concert organist, but also studied & played piano, and I wish I still had my Forster. But when I moved to the USA I sold it. I love the characterful bass, something hard to find on modern pianos; and the "pearly" but also singing treble. And they are so stable that they can live many years with minimum maintenance. If I ever buy a grand again Forster would be my first consideration, but they are virtually unknown here in the States, particularly where I live. Besides, I work as a pipe organ technician after my retirement from performing. Best wishes, Andres.
I always enjoy your adventure every time you sit down at the piano, no matter the context. Every session is a serendipity surprise waiting to happen. Admire your work so much. Have a wonderful trip.
Very clever play on Bach in flamenco style. Fiery and forceful. I particularly like your sitting posture here. High with forearms sloping down for a little more verticality on finger contact. Piano sounds full and robust. Nice lite finger tinkling in the treble.riff. Your schtick.is always 🎉entertaining, something even most international celebrities can't claim. Nice profile of you. Different camera angle or distane?
Nice smiling at us when you are tickled. It helps in the fun. You make otherwise pretty boring music appealing. Basic giftedness developed with wisdom and tenacious work ethic, really paying off. Nicely developed LH pinky from the knuckle. Pinky Panther! Right into wild riffing which is connected to the whole. OMG. You need more exposure.
Wow, fun intro. Gets the blood flowing. Never seen anything like it. Creativity on steroids. You probably should do some publishing of your own arrangements. Another good outlet even if you're performing a lot. "Rework" indeed! You have the sense, often eluded by so many classicists, that piano playing is show business, entertainment no matter how the fanticists want to dress it up. You are a showperson, a natural performer and entertainer. You go girl. Love the laughing. We laugh with you and marvel at what comes out of you and Herr Forster. More smiling and laughing when appropriate draw the audience into your joy and ecstasy.
Czerny certainly revisited, indeed. You make him interesting, emotionally appealing. You make more musically out of the least elements than anyone I have ever come across. Watching and experiencing you in whatever context is never a disappointment. Technique shines as you put it through its paces; yet always compelling. Posture, composure and hair are expemplary. I'd have to get a wig.
Welcome back. Very interesting music; you make the most of it. Expressive technique, and mastery all around. Fun interpretations. Clarity in the busy sections. Drama where it should be. Oh, and if I haven't said it before, the hairstyle suits you and your image. More important than is commonly thought for show business. Love your stuff-creative mastery and style.
