Hi, I'm Henry. First of all, compliments on the site, which is truly great... I wanted to ask a question that has always haunted me regarding piano technique. In the video tutorial about piano gestures, there is a passage where you say that the weight should be supported in the articulation... but what do you mean? Shouldn't one always play with the weight of the arm? So, relaxation? Actually, could you make a video about how to utilize the weight of the arm? Hi, thanks, Henry
Of course, we will talk about it many times. Let me take the opportunity to mention that at the beginning of the twentieth century, Breithaupt's book placed great importance on weight. This turned a page in piano technique. But one should not play everything with weight. Let me explain. At the beginning, the pianist must learn to walk. Imagine if, as children, someone had always kept us suspended under our armpits. We would never have understood how our body could rest on the ground. The bottom of the key must be known (it is quite useless to avoid it, one only wastes time) with the relaxation of the arm and its gravitation onto the phalanges of the fingers. At the beginning, it is a tragedy. It is not a matter of "robustness," but a matter of perception of the musculature. Being relaxed, arm and wrist with firm fingers that support the weight. An exercise that helps us understand: suggest to a friend to open, by pulling, our fingers placed "in a shell shape." Extend the arm softly, very soft wrist, very soft shoulder. He must not be able to open the fingers by pulling with all his strength, but we, well-anchored, will maintain absolute firmness only on the last phalanges. Try it. This is the litmus test for knowing whether we can properly separate tensions.
In this way, we will learn to support the weight of the arm-forearm on the tips of the fingers, and the playing fingers will pass this weight from one to another. However, it is not always like this. Not like this with all the weight. Otherwise, we could only play loudly and slowly. The shoulder will therefore have the task of suspending this weight more or less gradually to play mf mp p pp, and the fingers and the entire muscular apparatus will decide, in terms of speed, where to mark and discharge on the accents that will act as anchors. (connect this concept to fast study with pauses on the beat)
I hope I have provided an early vision of the theme. I hope to soon reach the point of treating this subject alongside the "theory of accents"
ok thanks for replying to me...if I understood correctly, the variation of weight, along with the variation of speed, gives us the possibility to play agilely and with expressiveness when playing pianos and fortes...easy to say but very difficult to do. For example, how does one perform Chopin's Etude No. 1 Op. 10? arm suspended with imperceptible finger movement and weight support to vary the dynamics..just enough not to stumble. Am I wrong or not? bye henry
Weight and speed do not go together. Forte is obtained with the speed of the hammer's impact on the string. Weight serves us as a base. It is needed to anchor ourselves where necessary.
Regarding Etude No. 1 op. 10, we are talking about one of the most difficult pieces of the 24 etudes. A large hand is advantaged, but a small one can also play this etude made up predominantly of tenths. The function of the arm and forearm is fundamental. The movement to the correct keys must be understood as 2 4 5 1 and not 1 2 5 4. Everything will seem easier. It is also appropriate to establish the accents during study and during performance. One must set up the etude thinking of a crescendo every time one moves towards the high notes. Everything will be more sparkling. Weight can help in this difference of color, but the arm must be ready for the movements. Anyway, "Best wishes"!!!!
hi sorry but when you say that weight and speed don't go together do you mean exactly what I am saying? i.e., to play at a fast tempo must one remove the weight? bye henry
I meant in relation to energy. Forte is produced not by the weight of the finger but by the speed with which the finger "throws" the hammer against the string. Anyway, in general, while performing, there must naturally be a proportion between weight and speed. The ability to balance and the precision of hand and arm movements also count for a lot. It's like walking "one step after another" or "flying" by touching down every now and then. Take the metaphors for what they are, even if they are pedagogically questionable. Try... even to "fly"....
