Tag Archives: piano technique

Piano Technique: Studying/Mapping out the F# minor scale and arpeggio (Video)

Exploring the two octave model is a good start with a separate hand approach to clarify fingering. I prefer making an adjustment for the opening F#, G#, A in the Right Hand (2, 3, 1) instead of 3, 4, 1 … Continue reading

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Sequences and Phrase contouring in J. S. Bach’s French Suite No. 5, BWV 816

An adult student and I explored sequences in the Allemande opener of Bach’s French Suite in G as we parceled out the treble and bass lines. (Still another voice that danced from the alto to tenor range, was separately identified … Continue reading

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When big hands and fingers play unwanted notes

After 6’4″ Big Mike sits snugly in front of my Baldwin grand–his knees crushing in on him, he’s thoroughly prepared to avoid a set of land mines that trigger a wrong note implosion. Normally when his mega-sized third finger depresses … Continue reading

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Piano Technique: Five-Finger positions are good for you!

Piano students of all levels can benefit from 5-finger position romps in many keyboard geographies. That’s because a player can experiment with legato and staccato on a bed of black notes; white notes, or combinations of both, without worrying about … Continue reading

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Piano Practicing: What to do when you make a mistake

In the universe of playing incorrect notes, I tell students to chill out, and approach a particular glitched passage in an organized manner. (This does NOT include PLAYING the so-called wrong note again ON PURPOSE to eliminate it) When an … Continue reading

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Experimentation and refinement are the ingredients of music teaching and learning

One of the joys of teaching piano is to experience awakenings with our students as we experiment with phrasing, and refine original perceptions. And while a piano teacher is considered a mentor to a student, he/she clearly realizes that roles … Continue reading

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Piano Technique: Split-Screen, rolling 4-note arpeggios (C# minor; B minor)

I love to work with students on 4-note arpeggios through inversions, prompting them to ROLL into horizontal, curvaceous groups of notes to avoid up and down finger poking. The elements of visualization (“imagining” motion SHAPES); kinesthetic translation (counterclockwise arm motions) … Continue reading

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