This piano student will gain a lot by reviewing footage taken at her lesson. It provides a practicing framework that zeroes in on the physical/musical aspects of creating a contoured arpeggio.
Here’s video where I’m teaching Sakura, 13, who’s studied piano with me for 3 years.
We worked on rolling, relaxed arms, supple wrists, and transitions from legato to staccato playing.
International Online Piano Teacher, blogger, recording artist, composer, piano finder, freelance writer, film maker, story teller: Grad of the NYC H.S. of Performing Arts, Oberlin Conservatory, NYU (Master of Arts) Studies with Lillian Freundlich and Ena Bronstein; Master classes with Murray Perahia and Oxana Yablonskaya. Studios in BERKELEY, California; Member, Music Teachers Assoc. of California, MTAC; Distance learning by Skype and Face Time with supplementary videos: SKYPE ID: shirley kirsten
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Private fundraising for non-profits as pianist--Public Speaking re: piano teaching and creative approaches
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2 thoughts on “Piano Technique: Practicing an E Major Arpeggio during a lesson-in-progress (Video with tips on creating a rolling contour)”
I see that you teach what one of my teachers called the “floating elbow technique.” I learned a lot from him about tone production and relaxation.
Thanks for sharing. I never labeled my approach as a floating elbow, but found physical motions that aided the singing tone: relaxed arms, supple wrist, “forward arm roll” (as Seymour Bernstein terms it)
Many influences.. Irina Morozova, Irina Gorin, Lillian Lefkovsky Freundlich (NYC), Ena Bronstein (Barton) The physical ingredients of playing the piano are paramount to my teaching. And naturally, ear training, sensitivity to tone and touch all belong together.
I see that you teach what one of my teachers called the “floating elbow technique.” I learned a lot from him about tone production and relaxation.
Thanks for sharing. I never labeled my approach as a floating elbow, but found physical motions that aided the singing tone: relaxed arms, supple wrist, “forward arm roll” (as Seymour Bernstein terms it)
Many influences.. Irina Morozova, Irina Gorin, Lillian Lefkovsky Freundlich (NYC), Ena Bronstein (Barton) The physical ingredients of playing the piano are paramount to my teaching. And naturally, ear training, sensitivity to tone and touch all belong together.