Art of Piano Playing: A scientific approach by George A Kochevitsky

By George A Kochevitsky

Such a lot of of the nice pianists and lecturers have pop out of Poland and Russia (Rubinstein, Anton in addition to Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), but we all know little approximately their tools of studying and educating. George Kochevitsky within the artwork of Piano taking part in offers a few vital resources of knowledge formerly unavailable during this nation. Russian assets by myself occupy 4 columns of his bibliography on 'History and concept of Pianism.' also there are six columns of German resources and 7 columns of assets in English. From those assets, tempered via this personal pondering, Kochevitsky has formulated a systematic method that may clear up such a lot difficulties of piano enjoying and instructing. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate paintings at Moscow Conservatory. Coming to the united states, he has taught privately in big apple urban, given a couple of lectures, and written for numerous song periodicals.

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After stretching, Couperin tells us to progress to short exercises at the keyboard: I always have my students play brief finger exercises, either running or arpeggiated passages, beginning with the simplest ones and in the easiest keys; and gradually leading them to the fastest and most transposed ones. 1. Miller, Institutes, evolutions, chap. 10. that lies beyond the sacred space of the practice room. Warm-up exercises also serve to sensitize the keyboardist to the requisite touch at a particular instrument, with which one may or may not be familiar.

After stretching, Couperin tells us to progress to short exercises at the keyboard: I always have my students play brief finger exercises, either running or arpeggiated passages, beginning with the simplest ones and in the easiest keys; and gradually leading them to the fastest and most transposed ones. 1. Miller, Institutes, evolutions, chap. 10. that lies beyond the sacred space of the practice room. Warm-up exercises also serve to sensitize the keyboardist to the requisite touch at a particular instrument, with which one may or may not be familiar.

Some teachers might also give such finger exercises to beginners, placing their thumbs together on middle C for five-note warm-ups in contrary motion. These students could make the mistake of assuming this position in actual pieces, which is a pity, because it rubs the thumbs together forcefully, causing Preparing to Play 23 undue strain. Not only are the thumbs crowded, but the pressure from the two pushing against each other forces the other fingers and the hand itself to turn unnaturally outward.

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Art of Piano Playing: A scientific approach by George A Kochevitsky
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