Introduction to Piano Technique
Piano technique is a huge topic of discussion. Pianists and other musicians spend years perfecting their own unique keyboard techniques. A piano technique is ones own personal method of handling the basics or fundamentals required to play the instrument.
A crummy technique means that the fundamentals (all the important components that you need in order to perform effectively) are…crummy…ineffective…bad…stinky!
A good technique means that your fundamentals, including such things as strong and flexible fingers, supple wrists, auxiliary wrist motions and good hand positions are all combined in a way that ensure solid and reliable piano playing.
All mediocre pianists are either very impressed by or very jealous of a pianist with a virtuoso technique. A virtuoso pianist is an individual with an unusual amount of skill and technical ability. A virtuoso performance is a combination of technical brilliance and supreme artistic expression.
Here’s an important thought. Bad piano technique comes from close-mindedness and a lack of consistent practice. So logically, pianolessons101 advocates the exact opposite: (1) an open-minded approach to proper technical fundamentals (including hand positions, finger strengthening exercises, etc.); and (2) a good, consistent work ethic. If you keep these last statements in mind, you will attain a satisfactory technique a lot faster then you might think possible. But be patient. Good things take time.
Piano technique is built from hard work and knowledge passed down from skilled, communicative performers. Most students build their technique through repeated practice of scales, chords and arpeggios. Unfortunately, this can become a bit tiresome. Many great pianists of the past strove to add interest to the process of building a formidable technique. Chopin, for example, wrote studies for his students that not only acted as technique building blocks, but also aided in building his students’ concert repertoire. Chopin’s studies are still a staple in concert pianists’ repertoire.
Many other composers of the past have contributed to technique building through study repertoire including Czerny, Cramer and, of course, Liszt.
So practice hard and build up those finger muscles. And remember, NO STEROIDS! After a good scale practice session, settle down to a protein powder shake. Actually, why not just have some junk food?. You deserve it!
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