TABLE OF CONTENTS
(Section & Chapter titles only - click here for a Detailed Table of Contents)
PART ONE – THE FOREGROUND:
PARTICULARLY PIANISTIC PROBLEMS IN MUSICAL CRAFT
(Section & Chapter titles only - click here for a Detailed Table of Contents)
I. GETTING STARTED
1. INTRODUCTION
2. HOW TO USE THIS
BOOK
3. BACKGROUND, MIDDLEGROUND
AND FOREGROUND: A PLAN FOR WORK
4. WHERE TO START?
II. GENERAL PRINCIPLES OF MOVEMENT AT THE PIANO
5. A MEDITATION ON
SOME INNER WORKINGS OF MOVEMENT
6. ‘SLOWING THE
KEY DOWN’
7. FORM FOLLOWS
FUNCTION
8. ‘ARM WEIGHT’
9. MATTHAY, MOSHE
AND MOVEMENT
III. HAND STRENGTH AND FUNCTION A: PERFECTING LEGATO
10. PHYSICAL LEGATO
IS THE FOUNDATION OF PIANO TECHNIQUE
11. A CAPABLE HAND
CAN FREE YOUR ARM
IV. HAND STRENGTH AND FUNCTION B – SPECIAL ROLE OF THE THUMB; RELATIONSHIP OF THUMB TO FOREFINGER
12. THE THUMB AND
GRASPING
13. ‘THUMB PUSHUPS’:
THE HAND AS SUSPENSION SPRING
14. CLARIFICATION
OF THE THUMB-FOREFINGER RELATIONSHIP
15. QUALITY OF MOVEMENT
IN THUMB PUSHUPS
16. FOREFINGER ARC
SWINGS FOR THUMB FUNCTION
V. HAND STRENGTH AND FUNCTION C – OCTAVES TO SYNTHESIZE HAND AND ARM FUNCTION
17. FROM THE THUMB
ACROSS TO THE FIFTH FINGER: HAND STRUCTURE AND FUNCTION IN OCTAVE PLAYING
18. FORTISSIMO OCTAVES
19. REPLACING ARM
SWOOP WITH COBRA STRIKE
20. BIG SOUND FROM
A SMALL HAND
21. TREMOLANDO OCTAVES
22. ‘TEUTONIC BEEF’
23. THE ‘OCTAVE
ARM-SWEEP’
VI. HAND STRENGTH AND FUNCTION D – MAXIMAL ARTICULATION OF THE FINGERS
24. ON FINGERTAPPING
25. THE STRUCTURE-SUPPORTED
SLAP
26. THE SOUND OF
ONE HAND CLAPPING
27. LEGATO VS. FINGER
ARTICULATION – THE COOPERATION OF TWO ANTITHETICAL ACTIVITIES
VII. ABOVE THE HAND: THE ROLE OF THE WRIST AND ARM 61
28. ACTIVE HAND,
PASSIVE ARM?
29. THREE ASPECTS
OF THE ARM'S RELATIONSHIP TO HAND FUNCTION
30. FUNCTIONALLY
SUPPORTED MOVEMENT: THE WHOLE ARM AS FINGER
31. EFFICIENT FUNCTIONALITY:
THE FOREARM AS LEVER
32. THE UNDERLYING
MUSICAL PURPOSE OF ARM MOVEMENT
33. MINIMIZE AUXILIARY
MOVEMENTS TO MAXIMIZE EFFICIENCY
34. FURTHER MUSICAL
IMPLICATIONS OF PROPER ARM-HAND COOPERATION IN LEGATO
VIII. ROTATION
35. FOREARM ROTATION IN LISZT
IX. NATURAL FINGER SHAPE
36. THE NATURAL HAND
IN PASSAGEWORK
37. USING THE YIN/YANG
FINGER PHENOMENON IN ORCHESTRATION
38. NATURAL FINGER
SHAPE AND TONUS IN CHORDS
39. MAINTAINING
NATURAL FINGER SHAPE IN SCALES
X. SOME OTHER TOUCH STRATEGIES AND COMBINATIONS
40. SYNTHESIS OF
VARIOUS STRANDS OF THOUGHT
41. PRESSING AND
HOLDING IN LEGATO
42. THE HIDDEN PROBLEM
IN DOUBLE NOTES – FEUX FOLLETS
43. CHOPIN’S B FLAT
MINOR SCHERZO: TWO FUNDAMENTAL PRINCIPLES REVIEWED
44. MUTUAL AID BETWEEN
THUMB AND FOREFINGER IN THE SCRIABIN CONCERTO
45. ARTICULATIONS
46. THE FELDENKRAIS
- HOROWITZ CONNECTION
47. FLAT FINGERS
48. PEDALLING
49. TOGETHER!
50. QUESTIONABLE
CONTRADICTIONS
PART TWO
– THE MIDDLEGROUND:
SOME
ASPECTS OF MUSICAL CRAFT
XI. RHYTHM
51. HIERARCHY OF
RHYTHMIC VALUES IS A PRACTICAL REALITY
52. A PRACTICAL
EXERCISE IN RHYTHM
53. CREATIVE WORK
WITH THE METRONOME – PULSE
XII. PHRASING
54. CREATIVE WORK
WITH THE METRONOME – MELODIC INFLECTION
55. PLASTICITY IN
PHRASING: EXPRESSION WITHOUT BOMBAST
56. GESTURE IN PHRASING:
A DETAILED EXAMINATION
57. TOWARDS A NEW
MODE OF AWARENESS IN PLAYING
XIII. ORCHESTRATION
58. ORCHESTRATION: THE HEART OF THE PIANIST'S ART
PART THREE: THE BACKGROUND - TELL A STORY
XIV. EMOTIONAL CONTENT
59. EMOTIONAL CONTENT
IN COUNTERPOINT? YOU BET!
60. YOU MUST BE
WILLING AND ABLE TO LIVE EMOTIONALLY WHEN YOU PLAY.
61. THE MASTERWORKS
AS EXPRESSIONS OF OBJECTIVE KNOWLEDGE
62. REAL PIANO SOUND
CAN GENERATE EMOTIONAL CONTENT
A FEW LAST THOUGHTS
63. TALENT AND CRAFTSMANSHIP
64. PROFESSIONAL
DEFORMATIONS
65. RECORDING
66. PLAYING AN ACOUSTIC
67. FEELING EMOTION
IN PERFORMANCE
APPENDICES
I: EXCERPTS FROM
FELDENKRAIS’ BOOK AWARENESS THROUGH MOVEMENT – A THEORETICAL FRAMEWORK.
II: FELDENKRAIS
AND THE MUSICIAN
III: THE PIANIST'S
PROGRESS: A MINI-AUTOBIOGRAPHY (WRITTEN 1993)
BIBLIOGRAPHY
INDEX
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