Thank you very much Professor. I'm a beginner and struggle with these issues. You shared lots of detail to work on. Slow motion scenes focusing on your hands are brilliant.
Thank you very much for your comment and for your appreciation..! I’m very happy to share 😊 Obviously everything would be easily implemented and demonstrated during an individual lesson. Thank you!
Thank you Sir for this excellent instruction on improving piano technique. It was both extremely informative and thoroughly enjoyable as you gave several brilliant segments of such great pieces, while explaining underlying details on how to improve the playing of such works! I hope to view more of your classes.
Dear Maestro! Thrilled to have discovered your channel! Embarking on a piano comeback after over two decades, and I’m documenting every step on my own channel. Your deep knowledge and technical tips couldn’t have come at a better time. Thank you for this insightful video! It's packed with so much valuable tips and information! 🎹✨
Thank you very much for your nice message! I’m very happy to be somehow helpful 😊 This is also an attempt to concentrate in 1 video a lot of information.. many of these technical issues are normally related to my work and “tailored” to the single person. In my courses I can better explain how to adapt these tips to the individual cases and circumstances.
Thanks for the lesson, it was very instructive, the exercices help to get rid of stiffness and tension. Wow you play in a beautifull manner, you make the piano growl and sing😮
You’re an absolute piano master. I wish to have a teacher like you! Thank you a lot for recording and publishing this. I would say you are amazingly talented but I wish to believe that it is hard work only made you like this and I have some chances to become so proficient one day.
Your advice to use mainly the two end phalanges (dip and pip joint)of the finger and to minimize the action of the extensors works very well. When I lift my fingers mainly from the knucle joint (mcp joint), with the extensors, and land on the bottom of the key, my arm starts pressing downwards behind the finger in an attempt to stabilize and everything gets stiff and seizes up. Your advice helps to avoid that and to “hover” over the keys instead of stumbling👍🏻Correct me if I am wrong in my analysis.
Thank you for your comment 😊 Yes, the arm weight technique is definitely a good approach but it has to be implemented and managed in the right way.. Actually, this is one of the most misunderstood topics.
Te agradezco muchísimo. Tu inglés es muy claro y tocás fantástico. Tante grazie! Io sono un compositore argentino qui prova gioccare il pianoforte (no sé si está bien escrito, ja).
Thank you very much for your video lesson, grazie mille! Your core idea of co-ordination of articulation and rotation is so important! But I would have a couple of questions! Non posso scrivere più in questo momento perché non sono a casa mia (sono in vacanza in Italia!), ma scriverò presto per fare le mie domande. Grazie!
There are only pianists from Italy who are world famous and also genius . Maestro Pollini passed on a few weeks ago. And there is Beatrice Rana. She's imho the best musician of our entire world.
There's No best pianist of our entire world. That doesn't make sense even a bit. Every Pianist is different. Even people disagree when I say Rachmaninoff is the best Pianist of the entire world. Come on, you need to wake up.
L'ultimo insegnante che ho avuto ha un approccio molto simile. Quando suonavo alcuni passaggi di un brano mi faceva fare sempre il confronto vecchia scuola-nuova scuola, quindi mi faceva suonare lo stesso passaggio in due modi diversi prpr per farmi sentire la differenza e quanto con la "nuova scuola" l'esecuzione di quel passaggio fosse molto più efficace. Per nuova scuola lui intendeva prpr la modern piano tecnique, una tecnica basata sui movimenti di rotazione e su un'articolazione quasi invisibile. Lui mi fece vedere questa cosa a partire dalle scale e mi insegnava a suonarle costruendo come delle diagonali. Quel movimento in diagonale non mi ero ancora reso conto che era la rotation. Me l'ha fatta applicare sullo studio op. 10 n 1 di Chopin e il risultato era che non mi stancavo più, cosa che succedeva assai prima di incontrare questo docente. Da allora ho capito cosa significa avere una tecnica che non ti fa disperdere energie e quindi non ti fa stancare, che era quella dei grandi pianisti del passato. Anche lui diceva sempre USARE LA PARTE FINALE DEL DITO. Nell'appassionata basta vedere Arrau che suona prpr così: con le rotazioni. Complimenti per la spiegazione ! Inglese comprensibilissimo.
La ringrazio per il suo interessante ed esaustivo commento! È proprio l’enorme vantaggio che si prova ad applicare questo tipo di tecnica a fare la differenza. La sua esperienza diretta e la sua testimonianza sono quanto di più rappresentativo in questo senso. Grazie 🙏
Buongiorno Maestro, chi le scrive è un adulto che suonava tempo fa (molto appassionato) e in procinto di ricominciare (dopo anni di pausa) le chiedevo se esiste un modo per avere qualche lezione online. Non a cadenza settimanale, magari mensile. Sarei davvero molto interessato. La ringrazio anticipatamente
Buonasera, grazie per il suo messaggio e per l’interesse nei confronti della mia attività. Sì, è possibile. Le chiedo cortesemente d’inviarmi un breve video ed il suo repertorio all’e-mail petraliapianist@gmail.com Grazie
Great video Daniele, so helpful to demonstrate correct alignment! Thank you! One thing it is not clear to me although is what happens with the elbow when we pass the thumb on scale/arpeggio. Do we bring the elbow close to the body? You mention in the video move horizontally not verticaly when passing the thumb but I can not see your elbow position from the video. Thank you in advance and also taking your personal time to upload such a great content.
Thank you so much for your kind comment 🙏😊 No, when we pass the thumb we need to have the elbow NOT close to our body in order to make the passage easier 😊
A thought and query about flexion vs extension. right! palm of the hand and fingers are made to comfortably and powerfully flex. BUT it can be combined and coordinated with many forms of extension of the arm and forearm. under the roof of arm movements away from the torso and towards the piano the many forms of flection of the hand can be used, with fingers sometimes more round, sometimes more extended, with wrist sometimes higher, sometimes lower.
Thank you for your comment and for your thought 🙏😊 I absolutely agree with you! What I explain is how the process works in general line, but it has to be adapted every time according to the specific circumstances and needs.
A me è stato utile tenere presente che l'azione muscolare è per lo più una resistenza alle leve (dita, polso, gomito, spalla...) che contrastano verso il basso la reazione verso l'alto della spinta sui tasti. Questa anche la ragione per la quale, nonostante l'intensa l'attività muscolare, gran parte dell'azione risulti 'invisibile'.
After experimenting a while with your advice: wonderfull the sense of stability and control in your fingers that results from the alignment! Although I tried in the past to align my fingers with my forearm, as Gyorgy Sandor also recommends in his book On Piano Playing, I always kept my elbow rather stiff and immobile close to the body in the process subconsciously. The elbow should also move in-and outwards freely as you demonstrate! New sensations are flowing through my playing apparatus and the sound has improved. Thanks again for the good medicine💊👍🏻
Thank you very much for your message..! I’m very happy that my video was useful and helpful..! Yes, the feeling of flowing is very special and helps to improve sound and speed. And yes, the way the elbow moves is very very important! 😊
Dear, right coordination is not something that can be implemented in a short time.. you need to lose old habits and to gain new ones 😊 My video is just a sample of what is possible to achieve, but in order to reach the goal it’s also necessary to attend some individual classes (either in presence or online).
@@danielepetralia I have a piano teacher. She indicated me once how to do that motion but all it takes is getting the hang of it with practice. I will watch your video as much as I can so I can look at your whole body motion. Thanks!!
@@schrysafisSo great! Your piano teacher can help you 😊 Try to focus on your internal physical sensations. Whatever you observe from outside have to be “felt” inside in order to be properly implemented. It’s also very important you check it out with your piano teacher that what you’re doing is correct and properly applied to the works you play. One more thing: every way to approach the keyboard has to be adapted and has to fit with your own body. All the best! www.danielepetralia.com
@@danielepetralia Thank you ! I need to keep reduced tension as much as possible. My teacher always tells me to have my wrist leaned upwards (if I used the right word) especially when playing scales. Sometimes the way I prepare my approach to my piano can help with the sound. I have a long way to give a 'timbre'. All about the relaxed wrists on both hands lies to the fact that I'm not used to calculate the circular motion with mathematical alignment. I will keep your words. Cheers!
in taubman's as explained by golandsky, reference to rotation looks different to me (which you demonstrate at 27:55 ). in fact, opposite. it is focused on the forearm. elbow moves AWAY from body for thumb, and TOWARDS the body for pinky. Here the movement is more circular, originating in circular, even spherical movement from a freely upper arm suspending freely from shoulder (Edna actually says it on 6" 30 in the attached video.) All traditions are good for some people some repertoirs etc, here the integrated attitude seems to be the tradition of great pianists like Claudio Arrau or Alicia de Larrocha, I am not well educated about the Taubman method, so I may be wrong in many things about it, take me with a teaspoon of salt. HOWEVER I suspect that there is some distortion of the basic perspective. The hand is in no way symmetrically designed, so it would probably better not be symmetrically rotated relative to the elbow. When in pronation weight is shifted on the thumb, the thumb, hand, and arm can carry the weight easily and comfortably. But in supination weight on the pinky and 4th is or can be problematic, but as a compensation, there is wider range for a swing. In short: pronation of the hand in playing is very different structurally and functionally from supination. Circular rotation as explained and demonstrated here looks to me much more in harmony with the many asymmetries of the hand at the keyboard, both in its structure and the structure of the forearm and upper arm, and shoulder, and very importantly: the fact that the hand is not suspended from the middle of the torso, but far away from it. I am and have been much occupied with this issue along many years, and am very curious about your take on these remarks, myself a little in the jungle with all the many ideas, and you obviously very articulate and clear about your concepts, which I highly applaud, needless to say! Golandsky's arppegios video on articulation of the forearm ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pnr9-zy_l3U.html
Do you have examples that don't involve advanced repertoire? Examples from the appassinata doesn't help anyone who can't handle a late Beethoven sonata. How about k. 545, or BWV 772? Show me how to teach this to an absolute beginner.
15:38 "articulation must use the flexers and not the extenders" this demonstrate that DP does not understand biomechanics / anatomy: both are used and are important, flexion is only stronger. Beside this, "articulation" is actually a deprecated notion, from "old piano technique" and from few schools (old french school, Hanon etc). The modern way is using weight and little articulation from the fingers (eg., Polish school, Fassina, etc), indeed because of the increased force needed to play on modern keyboards.
Thank you very much for your feedback! 😊🙏 I’m not saying that articulation doesn’t exist at all and I’m not asserting that “extension” is not as important as “flexion”. I’m just pointing out that “extensor muscles” and “fingers articulation” have always been overused and overestimated to the detriment of the more natural and stronger “muscles flexors action”. Of course both are used and are important but “in the right balance”. Old piano schools, however, have not found the right balance and this is the reason why it doesn’t work.
Buongiorno a grazie per il commento! Assolutamente d’accordo. Come tutto ciò che porta ad un bilanciamento del peso anche i movimenti del busto contribuiscono alla creazione di un assetto adeguato 😊
Grazie per il gentile commento! 😊 La scelta della lingua inglese è dettata dalla possibilità di rendere comprensibile la lezione su scala internazionale 😊
Thank you very much! I’m happy you found it helpful 😊 Of course everything is adapted to the specific framework during an individual Class or a Master Class!
