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Wonderful. Thank you very much! Great info.

Thank you very much for your comment. Actually, pain in the ulnar part of the wrist is common among pianists who make inadequate movements with the forearm and/or the hand on the keyboard. A classical example is Chopin's étude Op 25 Nº1. Many pianists think that the wrist and forearm have a leading role when in fact is the opposite: the fingers always lead. Laterally and vertically. Wrist and forearm are enablers. They follow. All this may prove to be difficult if the pianist has an underdeveloped pronation at the wrist, or a poorly articulated and supporting F4 and F5. Having said all this, you might have already developed some nerve compression. Resting the RH semi immobilized for a couple of weeks may be best for you. Also, learn new music from slow to fast playing. and please stay away from your past repertoire. If you contact us we will be happy to help you.

I have often had a similar question about keyboard design and the human hand. Adding also our European predilection for the dodecatonic scale.

Yes indeed. When thumb passing is underdeveloped, pianists tend to abduct the arm by moving the elbow out. By doing this, unfortunately, the whole hand goes out of plane. Scales, arpeggios and other figures become rather unsatisfactory. Worse still, the thumb never gets to be properly trained. Please consider that the correct thumb articulation occurs mainly at the wrist, at what is called the carpometacarpal joint. When correctly articulated, the thumb can go a long way beneath the hand. Same thing for cases where the hand passes over the thumb. There are some videos exclusively dedicated to this in this channel. Best!

@@thechopinmethod7257 well, I think a lot of what you said is opinion there, not fact. I know the problems beginners have by moving the elbow out, but in my experience as a teacher the problem is usually caused by leading with the fingers instead of with the arm. I've never had much success by leading with the fingers or the wrist, all of the world class teachers I've had promoted leading the fingers to the keys by the movement of the arm. What you describe may be the correct way as far as Chopin taught, but it isn't necessarily the best way, or even the most widely recommended way.

Glad this helps you!

Spiegazione illuminante e geniale . Grazie!

Hello! Other than the basis, I'd say it is a laissez faire. Modern pianos sound 'good' no matter what, which sometimes hinders poor finger control from our ears. The notes are there but ... Add to this that modern audiences expect a rather vivid performance of anything. So yes! Thank you.

@@thechopinmethod7257 Wow, good to know 🙂, thank you!

Thank you!

Thank you!

Hello Cimbrito. Thank you for your observations and question. The ideal piano bench height can be considered from a scientific point of view. If the elbow articulation matches the height of the surface of the while keys, a 90º elbow angle is a reference for neutral weight at the finger. Naturally, the pianist will need to add or diminish mass while playing for expressive purposes, as well as to elongate from time to time. In summary, an elbow in horizontal line with the keyboard is a good reference.

Hello Akansha. Thank you for yout question. Pianists and non pianists can move their fingers fast enough anytime. Fingers are flexed -ideally- by intrinsic muscles of the hand, which are fast by nature. Fingers 1 and 4 are slower though, requiring special attention. Flexibility is fundamental in piano technique and frequently mistaken for a pantomime spectacle. Optimised bone support at the spine, fingers, wrist and sitting bones is of paramount importance, yet all articulations remain flexible! That is real flexibility.

Hi Bumgorf. Your concern is completely legitimate. A first step is for parents and professors to obtain this knowledge and be able to identify it in practise. Ideally, the tutor should have trained to perform correct and incorrect modes to do demonstrations in person. Chopin was keen on this. Some of the videos in this channel have been design to serve as visual guidance as well. Please keep us informed of your challenges. Best!

Fingers 2 and 4! Worlds apart. It has happened to us that a well articulated video documentary can be later shown in several shorts, which takes a little longer. To do this, we are exploring 3D animations. In the meanwhile, please consider studying finger anatomy from a structural and muscular finger action. You will be surprised by the differences at the intrinsic muscle level.

And for certain sliding sounds

thank you for your comment. However, tension should be addressed from its real source without compromising correct finger articulation

You can play this way even with wrist rotation.... Leading from the fingertips makes the 'pressing of the note' feel more secure...

@@thechopinmethod7257 I agree, but sometimes finger articulation + little wirst rotation for tension release would not be better ? I’m a beginner in piano and your videos help me a lot ! Thank you😊

Delighted to know that these videos help you! The finger is the first to act by means of the intrinsic muscles inside the palm. Once the finger plays the key down, it enters into support mode. This support carries the weight of the hand and part of the forearm, and is transmitted in such way that the knuckle and the wrist responds with a slight movement. Thus, any wrist and forearm movement is a *consequence* of the finger action. Please take the time to watch some of the videos in this channel that explains this in detail and with animations. Best!

If older Blüthners didn't exists, the modern world would hardly be aware of the sounds that the fingers can do in a piano.

Glad to know that this is helpful for you!

Thank you!

Hello. The forearms muscles should activate after the intrinsic muscles. Forearm muscles assist during the support stage. Please watch lesson 5 in this series. Thank you.

Hello. There was no intention to delete any comment. This short video had to be reloaded because the production quality was not up to standard. Unfortunately, YT does not allow to keep view count, comments and likes when uploading a newer version. We valued your comments and they are always welcomed.

@@thechopinmethod7257 ah i got it thank you for your reply

Noted! We do intend to do so.

Hello. The channel is about to launch a series of shorts to help pianists while they practice. Managing this content is a delicate matter when dealing with repetitions and injuries. Thanks anyways for your offer.

@@thechopinmethod7257 Amazing! Good luck on your shorts, I hope to see this channel grow exponentially.

Hello Cornelia. Thank you for commenting. Unless you have a medical condition, which may be worth assessing, please consider that neuromuscular changes are gradual and take time. A key aspect is that the training has to be done properly and mindfully. The reward is truly satisfactory. Best!

Hi Kyrion. Modern pianos have indeed increased key inertia/weight. One reason to this may relate to what you suggest: XX century music is more percussive, metallic and audience oriented. For Chopin, the fingers had enough to say by themselves. If properly trained, they could flex down a the key with exquisite control. Ultimately, a piano hammer control. The elbows and the rest of the body completely flexible and resting on a skeletal support. Consistent with this, playing and enjoying playing can go on for hours and hours.

Hello and thank you for your important question. The fingers should indeed be positioned touching and sensing the surface of the target key. Even forte and virtuoso passages should be learned with this in mind. There are major advantages: finger positioning sensing, key positioning, finger stand-by neural stage, finger intention planning. All this brings sound control and the unsurpassable satisfaction of moment creation.

What about the fingers that are not being used to play any notes the piano for a specific portion of the piece? For example, in the first 4 bars of Rondo alla turca by Mozart, Finger 5 in right hand is not used. So should Finger 5 still rest on the piano keys or not? Also, thank you for your response.

Yes, finger 5 should rest touching and sensing the surface of the keys, even if dragged laterally. The special curvature of the 5th finger must be observed.

Can I also ask you about whether or not chopin encouraged training finger independence or not where, and why? Also, thanks for your response.

Hello. Thank you for your question. A beginner who is serious about learning classical piano should get, if feasible, a good grand piano. If not, at least a piano with hammers, tuned and well regulated action. Electronic pianos, unfortunately, sound nice no matter how badly the playing. The support stage therefore has more to do with supporting the weight of the hand-forearm system than the piano key action. Cheers!

@@thechopinmethod7257 thank you sir for your insights on this. It’s not feasible for me to get a grand piano at this stage. But what I’m inferring from your response (and that’s exciting), is that I could possibly work in strengthening my support stage. I can feel now thanks to you how weak my fingers are, they can barely support any weight. What an exciting personal revelation for me! Are there exercises or ways you recommend for us to strengthen support stage outside of playing piano? Appreciate you much!

Hi. Being aware of the support stage of a finger playing the piano is a good beginning. During the support stage, you can also check several things. Among them, that you are really supporting using the natural bone arch of the fingers, and that all other body articulations are free and elastic.

Grazie. Nella configurazione offerta da YT sono 20 le lingue disponibili per i sostituti. L’italiano, ovviamente, è uno di questi. Best!

That is good to hear! Thanks!

Thank you!

Thank you!

Hello Bjorn. Thanks for asking! Indeed, when taking the Ètudes as a reference, we are just beginning to cover piano technique. However, this doesn't change the order of the fundamentals. The fingers begin the action and every other movement is a consequence. This ordering is frequently misunderstood and substituted for forearm rotations as simultaneous or main drivers of the action. They are a consequence just as the movements of the hips are a consequence of walking.

De nada

Muchas gracias. Saludos.

Grazie mille!

Gracias!

Gracias a Ud.