Question 8.

"I'm working much on my tone now, it's hell of a work to get a touch that you'd be satisfied with. I am trying to look at the music from a different way now, trying to do everything as interesting as possible without playing what not is written - that is the key, isn't it?

I bought some nice music in Italy; among others Beethoven's first Concerto (I love this concerto, I'm studying first movement now, gonna play it with some friend on two pianos), Schumann's Toccata - that is difficult, gee...!"


 You know, the main thing that has to be considerate if speaking about the sound's building, is: looking for technical easiness and a fluency in playing one has to put up the REAL motion into a VIRTUAL vision of the each one constructed sound. It is extremely important - especially if one, having not yet properly trained hands and ears, still starts to study such instrumentally advanced piece as Schumann's Toccata...!

Well, I must say that dynamically uncontrolled pressing on the keys, particularly if associated with stronger will to realize the whole thing as fast as possible, might produce very miserable results...

One has to be a real wolf in the lamb's pelt... - still in such an occurrence this masquerade would not have any negative nuances!

Looking for the best result one has to start to practice the Toccata (for instance - of Schumann, or any other piece of similar kind) searching better not for gigantic sound - NOR trying to stroke the keys rapidly. Such practice could give just opposite results as one might expect for: as the main result he/she will get pains in his/her hands only and a feeling of psychical discomfort, too.

 The whole thing should be started with the highest care. All the sounds must be connected into one great musical line with greater support of virtual stream of energy (compare to Question 4 and as well to this file, thank you!). This power will connect the moving vision of the first sound to moving vision of the next one (and to the next and next and next one - up to the end of the piece). In such a way, helping them to flow in the proper dynamic Zone, one will get a possibility to realize the same task with all the really existing sounds. The expected goal will be achieved - one start to play with greater technical comfort and will be ready to polish the other aspects of ones playing.

This is the accurate model of legato of the Chopin & Neuhaus' style. Because only searching for proper dynamic and coloristic quality of the INNERLY moving sounds one could be able to achieve ones personal highest level of piano technical easiness in ones playing. This is impossible to complete such task without stronger work of the artistic fantasy nor without a cognizance of artistic accuracy of the particularly chosen Zone.

Of course, the piano technical abilities depend on particular talent's level, different one is being possessed by each one of us. Having about 30 years long piano pedagogic experience, I may say that the inhibitors, that some kinds of teaching might put in pianists' mind & body inside - in extreme situations - can totally eliminate any chances to future growth of person who has been taught in such a way.

At the end of this commentary: if you will experience any shadow of mental, spiritual or just physical (technical, manual) suppression in your future studies - let me know about such an inconvenient situation as fast as possible.


I think, the proper solution had been found...!

Yours comments - maybe?