Mastering the Perfect Touch An examination on applied pressure in piano playing

Transcription

1 Page 1 of 14 Mastering the Perfect Touch An examination on applied pressure in piano playing Chapters: 1) The Concept 2) Future Vision 3) What is the Perfect Pressure? 4) Seating and Height of the Bench 5) How to Approach this Concept 6) Benefits of Using the Perfect Pressure 7) Staccato and Articulation 8) About Sound, Legato 9) Exercises, Scales and Practicing Methods 10) Double Notes, Trills 11) Heavy Pressure, Soft Pressure and Collapsed Bridge

2 Page 2 of 14 The Concept For many pianists, finding the optimum playing technique which minimizes physical stress and injury can be a lifelong search. The search for perfection! In addition, there is the challenge of working with the score. Namely, to reconcile the pianist s desire for a unique expressive sound while remaining faithful to the composer s intentions. In my case, I have been working for many years to master my instrument. In doing so, I have made use of numerous and diverse methods and have taught the most effective ones to my students. Because of an accident resulting in two operations on my hand, the study of my body has become a vitally important part of my piano playing. Oftentimes, it seems like an interminable struggle before one discovers the hidden treasure, and finds the long awaited golden nugget: the perfect method. For me, this discovery came when I encountered the pianist Dickran Atamian. A highly inspiring exchange of knowledge ensued which I would like to share. The concept that I present here, I named the "Perfect Pressure. Although the word "pressure" could cause some negative connotations, there is no better word for this technique in any language including English. Pressure is a natural phenomenon: Everything requires resistance and the piano certainly does too. Apply pressure onto someone s body and you can relieve pain. The fact that very little has been written about the pressure of the finger on the keyboard encouraged me to give more attention to this sadly neglected topic. Once I got the idea, I became obsessed and my understanding grew over a period of months. There is quite a bit written about the proper way to play the piano. Unfortunately, little is known what Franz Liszt, legendary piano virtuoso, has really said about piano technique, although he has left prominent students with their methods of playing. Technique is an acquired approach to the piano, talent is a natural gift. This approach is a technique and I strongly believe that in order to create meaningful and demanding performances, pianists need the clearest approach possible. You are probably already familiar with currently available pianistic methods and approaches of piano playing. The novel approach which I propose in no way replaces the current methods and development of artistic and technical skill. With the addition of this new approach to the professional repertoire of tools, I am thoroughly convinced that it may improve skills. This will be done not only with minimal muscular effort, but also a wonderful feeling of resonance radiating throughout the body.

3 Page 3 of 14 Future Vision Many times you may have heard the sentence Just feel it! I don t recommend this. You must be able to explain why you chose your methods. Otherwise there wouldn t be so many pianists suffering from tendonitis, carpal tunnel syndrome, etc. or simply wasting valuable practicing time with insufficient methods. I talk from my own, sometimes painful experiences. I thoroughly researched to find the most perfect physical approach to the piano. I always imagined how I wanted to play, yet I needed the right approach to execute it technically. It s my vision that in the future, pianists will have insights into their practicing habits. Today we have the advantage to measure parameters in music with certain musical instruments. Flexible sensors to measure pressure and/or other parameters in music already exist. I recently met a scientist in Zurich who is working on this project. He is Tobias Grosshauser, ETH Zurich, Switzerland: Electronic Laboratory. String and brass players can already apply those sensors to their instruments to measure the ideal amount of pressure without getting tired. I m curious about those parameters in piano playing and I want to create the same sensors for pianists.

4 Page 4 of 14 What is the Perfect Pressure? Through many years of learning and training, I have found this approach to be the crowning achievement in the pursuit of pianistic perfection. I begin this chapter with a straightforward directive: Apply equal pressure on each key and finger, no matter the dynamic, speed and or/other parameters. After this simple but radical statement, I will explain its intent and its implementation. In order to apply equal pressure to every note, it is important to play as close as possible to the keyboard in an optimal and economical manner. These two actions should always be executed in the most direct way possible. If you apply equal pressure on each finger, you don t have to lift fingers at all. Practicing many hours with isolated movements of fingers or wrist can lead to severe tendonitis and other problems such as muscle fatigue. The following question then arises: Where is the pressure coming from? Before continuing to the next chapter, I d like to cite part of an article found on the internet. Melody lead in piano performance: Expressive device or artifact? (Austrian Research Institute for Artificial Intelligence, accessed April 6, 2001, Werner Goebl): As reported in the recent literature on piano performance, an emphasized voice (the melody) tends to be played not only louder than the other voices, but also about 30 ms earlier (melody lead). It remains unclear whether pianists deliberately apply melody lead to separate different voices, or whether it occurs because the melody is played louder (velocity artifact). The velocity artifact explanation implies that pianists initially strike the keys simultaneously; it is only the different velocities that make the hammers arrive at different points in time. This relates directly to the concept of applying equal pressure. Volume results from the speed of the hammer striking the strings. I contend that there is no increased muscle activity involved by playing louder dynamics. Rather, performing louder dynamics relates to the bundled and concentrated attack summoned up by martial artists and has to do with weight applied from the shoulders and arms then directed through the fingertips.

5 Page 5 of 14 Seating and Height of the Bench In order to use weight rather than muscles, I recommend sitting very high. The pressure comes from the shoulder, going down the arm, ending at the fingertip. It s played as a unit! Performing in this manner allows one to practice for many hours without becoming tired. For me, a higher sitting position led to the disappearance of the muscular tension in my arms and back that had affected my practicing for many years. Ergonomically correct chairs are designed for people with sedentary occupations in offices. We pianists, however, sit for hours on less than optimal benches. Our arms and legs, not to mention our backs, are confronted with potentially-dangerous physical challenges. Most piano methods recommend a seat height in which the elbows are aligned parallel to the keyboard. Sitting that way, the arms need a lot of muscular activity to be held in that 45 degree angle. With an elevated seating, arms don t have to be held as much, they are freely hanging down. This does not relate to the concept of weight transfer espoused by many professors of piano. Instead, I contend that once one assumes the correct sitting position, the weight is always available and may be transferred with minimal muscular effort and with equal pressure to the fingertip. Standard piano benches do not allow for the height that I have found to be ideal for this approach. I recommend an increased height of approximately 10 to 12 inches above the highest position of most benches. I currently use four identical wooden lifts placed underneath each leg of the bench to raise it to the optimal seating position (Look on the internet for the video An evening with Dickran Atamian to see the lifts). The ideal seat height for each individual depends on the size of his/her upper body. With the lifts, elbows are significantly higher than the surface of the keyboard. I believe the wooden lifts would need to be approximately 10 to 12 inches. They are transportable and would serve the need for touring pianists. The next step is to have this bench at home. I am lucky to have found a manufacturer here in Europe and am using the ideal bench. Playing from an elevated position may feel awkward at first. After sitting in this position for a few days, I gained a feeling of comfort and well-being that I had never known before. It has also allowed me to view the entire keyboard like a map in front of me. This is a great benefit for tactile memory and allows a broader perspective from which to observe keyboard action.

6 Page 6 of 14 How to Approach this Concept To experience the principle of equally pressured notes, try to play using a lateral motion when shifting to upper or lower registers. For each passage, ask yourself: How can I proceed most economically from point A to B? This is achieved by remaining as glued to the keys as possible and avoiding separated movements with wrist or fingers. Play with a downward pressure, imagining the weight coming from your shoulder, through your arm, to the very end of your fingertips and into the key. Move sideways before adding any other motion, such as circling movements, rotational movements, going up and down and backward or forward. The reason is that by adding other movements too quickly, one risks losing the constant weight on each note. Once you are more experienced with the approach, your body will instantly recognize whether you are playing with equal pressure. While developing this approach I quickly realized that intuitive recognition of what feels natural is paramount. From an elevated sitting position I have found that it is much easier to find the right moves, because the whole body works as a unit and relaxation is constantly present.

7 Page 7 of 14 Benefits of Using the Perfect Pressure What differentiates this approach from others and what can you gain from it? I personally love a concept that is clear, always stays the same and I can divide it into its smallest elements. Once you understand the concept you can play with it by changing all the parameters around. For example: In order to play the softest pianissimo, practice it with the fullest and most heavy pressure approach. Execute legato passages by playing them staccato or the other way around and so on The perfect pressure provides big clarity in its concept and I am convinced that pianists will gain some key elements such as: 1) Shorter warm-up phases: The warm-up before practice can be reduced significantly because the fingers are always on the keys applying equal pressure. Once fully integrated, all passages can be retrieved much faster due to the development of the tactile memory. 2) More reliability with unresponsive pianos and the ability to adapt quickly to a wide variety of pianos. For concert pianists, this will prove to be a tremendous benefit when confronted with mediocre instruments in the concert hall. 3) More control 4) Endurance and a better feeling in your body 5) A beautifully full, bright and long lasting piano sound: The sound will increase in fullness and brightness. Through that you will feel more strengthened in your playing.

8 Page 8 of 14 Staccato and Articulation Since I recommend avoiding isolated movements, What type of contrasts might you find while playing a staccato passage? According to current popular methods, three types of staccato playing are known: finger staccato, wrist staccato and the staccato executed by the forearm. In applying the method of the perfect pressure, the first two mentioned are not used. (video previously referenced). The third, the forearm staccato, comes close but is still inadequate in its description: Even the forearm should not be isolated from the upper arm. Since weight is constantly present in this method, the key is simply released earlier and more pause is given between any two notes. It s like playing portato with evenly-distributed gaps between notes. The sharper you want to have the staccato, the earlier you let go of the note, meaning: How accentuated the staccato passages are played is left entirely up to the individual interpretation of the player and the requirements of each score. Above all, relaxation is always present and one may choose as many gaps as desired according to the passage being played. While applying the perfect pressure, legato passages may sound completely convincing without executing them technically with legato. By utilizing smart pedaling one will be able to achieve stunning results. Moreover: the above description of the staccato technique can also be used for legato passages, as they require very fast speeds. With little detached motions not heard by the listener, one can succeed in accomplishing the mastery of increasingly difficult passages. The same principle can be applied within articulation: After a slur and the end of a phrase, don t lift your wrist at all. Concentrate on the last note of a phrase before letting go of that note at the very last possible moment. Use the same amount of pressure you did in the legato passage before and simply release the key a bit earlier. Move laterally and most economically to the next phrase. (video)

9 Page 9 of 14 About Sound, Legato Why is there little discussion about the actual pressure applied to the keys while achieving an equal and good legato? In my opinion, creating a perfect legato is a noble and lifelong goal for any pianist. A beautifully performed legato has a lot to do with applying pressure onto the keys. I assume that great artists unconsciously add more pressure and go deeper into the keys to get the desired results. It is very important to apply the pressure equally when you are playing a certain passage. Personally I am not fond of the overlapping legato; I only use it as a practicing tool. Let us consider how to achieve good legato playing, especially in slow passages and when melody lead is required. In order to connect two notes as closely as possible, bring the key down as slowly as possible and with lots and equal pressure. Then leave the key at the very last possible moment before playing the following note. This may all appear to be very logical but I believe that adding lots of pressure/weight is the most important factor in producing a well sounding legato. A beautiful full piano sound rich in overtones has nothing to do with the technical side of piano playing. Listening to inspiring recordings by various artists from the technical standpoint shows that it is possible to achieve a beautiful sound. It is totally dependent on a good ear, and a talented artist will find a way to reproduce the imagined sound on the piano. Pianists may sit higher or lower and play the same passages with rounded or rather flat fingers. Creating a meaningful interpretation has more to do with the space in between the notes and the chosen dynamics. Nevertheless, I would like to share my thoughts and experiences with the use of applying equal pressure. As the piano is primarily a percussion instrument, producing a full and long lasting sound is far more difficult than for a violinist. A full sound has to do with the body weight. I remember my own experiences to achieve the perfect arm weight, and I have hung weights on my arms to somehow get a feel for it. I always had an exact image of how I wanted to play, according to my idea of a beautiful sound. I just needed the perfect way of touch! The higher seating position allows the full weight of the upper body to be directed into the keys, it feels good and helps to transform to a much fuller sound.

10 Page 10 of 14 Exercises, Scales and Practicing Methods In order to implement this new approach, it is vital that the fingers are independent. Numerous methods of achieving this mastery are widely known and recognized. At the same time I believe that you can apply this concept no matter the level of your playing. It s possible to develop your finger skills and add the perfect pressure at the same time. I offer some valuable basic exercises to maintain and develop a still greater level of skill. These seemingly simple, yet very effective sequences really help if practiced in two different ways. The same approach can also be used to work on any difficult passage throughout the scores. Execution 1 Basic finger key stroke: The exercise close fingers requires a fast and soft key stroke which only comes from the knuckle bone: If done in the right way, the hand is completely still and you don t lift any finger before playing down into the keys. The maximum volume is a piano or maybe a mezzo piano. You could also explain it as the zero pressure exercise. (Video) Imagine an arrow shooting out of your hand very fast and moving downwards. The movement comes from your knuckle bridge and you are completely glued to the keys while moving your hands laterally up and down the keyboard. (Look up pdf s with the exercises) Play both hands together to save time and to help develop your weaker hand. As the advantages of working hands separately are widely known, I recommend always doing the exercises with both hands. Use several octaves (the whole keyboard) and work 45 minutes every day just on these few exercises. Change keys every day. In keys with lots of sharps and b-flats, try to use the space within the black key area, if your fingers allow it. Always find the closest and most economical way to play, especially when playing chromatically. Also make sure that all of your fingers stay in contact with the surface of the keys at all times, even if they aren t pressing a key.

11 Page 11 of 14 Execution 2 Heavy pressure : Now you can do the opposite. Bring down each finger as slowly as possible in your imagination and with lots of equal pressure. While doing the heavy pressure approach, it s especially important that you sit high so that your arms are relaxed. Use all the weight of your upper body and try to produce a full sound without moving your hands up and down. You can practice the exercise without moving your arms and as another version with a free sideway (lateral) motion of your arms. Whatever Exercise or Etude you re working on, you can use these two ways of practicing. I recommend also working on all the passage work (Scales and Arpeggios) in your scores with the same approach. Start with the close fingers and add the equal pressure afterwards. The more you practice these exercises, the easier it will be to execute Scales and Arpeggios without any thumb warm-up, you simply shift in a lateral motion like a typewriter. Tension is avoided and you can practice much longer without getting tired. As already mentioned in the chapter Articulation, make sure that you concentrate on the note you have to let go before shifting: Apply equal pressure and simply let go of the note at the very last possible moment. Make smart use of the pedal to get a perfect legato.

12 Page 12 of 14 Double notes, trills A lot has been written about the manner in which to play octaves properly and double notes are good technical elements that deserve special attention. Often, problems occur because of the mental aspect. Imagining a doubling voice can often reduce the tension. The possibility to divide every technical element into its smallest elements gives you endless possibilities to practice. The difference in playing an octave lies only in the spread hand position, the application of equal pressure on the thumb and the fifth, and the lateral movement of the hand from one octave to the next as close to the keys as possible. The rest is done with the high seating and the weight directed into the keys. Playing octaves this way allows for amazing stamina without experiencing fatigue in the arm. To play thirds and sixths evenly is much more difficult, but the approach is essentially the same. Try practicing double notes as follows: 1) Play one voice first and move laterally through the whole passage, remaining as close to the keys as possible until the path is completely ingrained in your tactile memory 1) Do the same with the second voice 2) Now play them each Legato and Staccato described as detached playing (refer to the chapter about staccato playing) 3) Now mix, with one voice playing Legato and the other in a detached manner At the end try the passage in playing legato. Very fast speed in some passages will still require little detachments to be able to execute them properly. Trills 1) Divide the trill into fragments of two notes and then detach without leaving the key 2) Execute first in a lateral movement 3) Then in a forward and backward motion (move the whole arm to the lid and back: avoid separate wrist movements, move as a unit) 4) With equal pressure and playing with various detachments, the rotational movement develops without explanation

13 Page 13 of 14 Heavy pressure, Soft Pressure and Collapsed Bridge One might assume that heavy pressure always goes with slow tempos and light pressure with fast tempos, but this is not the case. It is completely dependent upon the passage, the dynamics, the density of notes and the melody lead. I can play a Staccato passage with heavy pressure and a Legato passage with lighter pressure but the pressure must always be equal! In determining which to choose, one should always start with the heavy pressure: Apply equal pressure to each note, start with a lateral movement first and then add the other possible movements. The pianist will quickly and intuitively discover the ideal pressure when he/she starts working with it. There are passages which are much easier to play if a concave knuckle bridge is used. Some fixed rules would be helpful and I have tried repeatedly with various similar passages which I like to arrange analytically. In my opinion, piano playing is a flexible process. Passages I would have played years ago with a firm knuckle bridge, I now play with a caved-in one. As I use the expression soft pressure, I use this hand position more often while playing softer dynamics. The following insights may help you find the passages in your scores: 1) Determine if the collapsed bridge method can be used on passages with soft chords. 2) Passages featuring two voices, one with fast repetitive notes and the other with an emphasized voice (the melody lead), often require the collapsed bridge. A very good example is in the beginning of Ondine in Gaspard de la nuit. (See video and listen to the stunning performance of Dickran Atamian. Partly shown in my interview with the legendary artist) Other passages may be found in impressionistic pieces such as Ravel s Jeux d eau, (Video). In the classical repertoire, you can execute certain passages by using the caved-in bridge. (Video and the examples in Beethoven s Sonatas) Another sign of using this hand position you may find by playing soft repeated chords with an emphasized voice. (Video: Chopin 4 th Ballad) As I already mentioned in the chapter What is the perfect pressure? the melody lead is played slightly earlier than the accompanying voices in the same hand. With using the soft pressure you have much more control and can create a beautiful warm sound. As the point of the keys striking the hammer is delayed using this approach (due to the repetitious nature of the grand piano) make sure that you always play both hands together throughout the chosen passage.

14 Page 14 of 14 Otherwise you can create imperfection with playing left and right hand together. Thanks Finally, I would like to take this opportunity to thank everyone who tremendously helped me so that this project could arise: Dickran Atamian: For his incredible inspiration to create the method the Perfect Pressure. Stuart Deaver: For his professional, exciting and fun time to shoot all of the Videos! John Powell: For editing this text and helping me polish my bumpy English! Anne Kerzner: For her patience and the wonderful cooperation with all of my design! And all my other friends who have had to endure my obsession with this project! THANK YOU!