The Craft of Piano Playing A New Approach to Piano Technique Feldenkrais based 2nd Edition by Alan Fraser ISBN 0810877139 978-0810877139

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ISBN 10: 0810877139
ISBN 13: 978-0810877139
Author: Alan Fraser

In The Craft of Piano Playing, master pianist Alan Fraser offers readers an original and comprehensive approach to piano technique, offering over 100 illustrations and a series of unique exercises to guide the reader. Drawing on his many years as a performer and teacher, his long-standing collaborations with pedagogue Phil Cohen and virtuoso Kemal Gekich, and his professional training in the Feldenkrais Method, Fraser introduces his truly innovative piano technique by
• Teaching how to move your hands with greater sensitivity, power, and accuracy, and honing the skeletal alignments to help you access your innate, structural potency;
• Linking your physical technique to musical expression, creating an “absolutely natural way of moving at the piano that is powerful, flexible, and musical” (Piano News, Germany); and
• Keeping your hands healthy while avoiding the threats of tendonitis, carpal tunnel syndrome, focal dystonia, and RSI.

This revised second edition joins the DVD of the same name, his study guide, and his latest book, Honing the Pianistic Self-Image, in Alan Fraser’s growing line of piano pedagogical materials. This edition includes new chapters, such as “Arm Rhythm” and “The Body’s Support of Natural Finger Shape,” updated material reflecting evolutions in Fraser’s technical and pedagogical thinking, a “cleaner and leaner” literary style, and more extensive, better-organized tables of contents, with cross-references to corresponding chapters in the DVD.

The Craft of Piano Playing A New Approach to Piano Technique Feldenkrais based 2nd Table of contents:

PART I — THE FOREGROUND PHYSICAL CRAFTSMANSHIP AT THE PIANO

SECTION I – GETTING STARTED

1 Introduction

2 How to Use This Book

3 Background, Middleground and Foreground: A Plan for Work

4 Where to Start?

SECTION 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

SECTION III – Hand STRENGTH AND FUNCTION A: PERFECTING LEGATO

10 Preparing Legato

11 Physical Legato Is the Foundation of Piano Technique

12 Overholding

SECTION IV – HAND STRENGTH AND FUNCTION B: THE SPECIAL ROLE OF THE THUMB AND ITS RELATIONSHIP TO THE FOREFINGER

13 The Thumb and Grasping

14 Thumb Pushups: The Hand as Suspension Spring

15 Clarification of the Thumb-Forefinger Relationship

16 Reverse Opposition

17 Quality of Movement in Thumb Pushups

18 Forefinger Arc Swings for Thumb Function

SECTION V – HAND STRENGTH AND FUNCTION C: OCTAVES TO SYNTHESIZE HAND AND ARM FUNCTION

19 Thumb Across to Fifth Finger: Hand Structure and Function in Octave Playing

20 Fortissimo Octaves

21 Replacing Arm Swoop with Cobra Strike

22 Big Sound from a Small Hand

23 Tremolando Octaves

24 Teutonic Beef

25 The Octave Arm-Sweep

SECTION VI – HAND STRENGTH AND FUNCTION D: MAXIMAL ARTICULATION OF THE FINGERS

26 On Fingertapping

27 The Structure-Supported Slap

28 The Sound of One Hand Clapping

29 Legato vs. Finger Articulation: The Cooperation of Two Antithetical Activities

SECTION VII – ABOVE THE HAND: THE ROLE OF THE WRIST AND ARM IN LEGATO

30 Active Hand, Passive Arm?

31 Four Aspects of the Arm’s Relationship to Hand Function

32 Functionally Supported Movement: Whole Arm as Finger

33 Arm Rhythm

34 Body Rhythm

35 Efficient Functionality: The Forearm as Lever

36 The Underlying Musical Purpose of Arm Movement

37 Further Musical Implications of Proper Arm-Hand Cooperation in Legato

SECTION VIII – ROTATION

38 Forearm Rotation to Smooth Out Arpeggiated Stretches

39 Forearm Rotation to Leap with Alacrity

SECTION IX – NATURAL FINGER SHAPE

40 The Natural Hand in Passagework

41 The Body’s Support of Natural Finger Shape

42 Using the Yin/Yang Finger Phenomenon in Orchestration

43 Natural Finger Shape and Tonus in Chords

44 Maintaining Natural Finger Shape in Scales

SECTION X – SOME OTHER TOUCH STRATEGIES AND COMBINATIONS

45 Synthesis of Various Strands of Thought

46 Pressing and Holding in Legato

47 The Hidden Problem in Double Notes: Feux Follets

48 Chopin’s B Flat Minor Scherzo: Two Fundamental Principles Reviewed

49 Mutual Aid between Thumb and Forefinger

50 Articulations

51 The Feldenkrais–Horowitz Connection

52 Flat Fingers

53 Pedaling

54 Together!

55 Questionable Contradictions

PART II — THE MIDDLEGROUND SOME ASPECTS OF MUSICAL CRAFT

SECTION XI – RHYTHM

56 Hierarchy of Rhythmic Values Is a Practical Reality

57 A Practical Exercise in Rhythm

58 Creative Work with the Metronome: Pulse

SECTION XII – PHRASING

59 Creative Work with the Metronome: Melodic Inflection

60 Plasticity in Phrasing: Expression without Bombast

61 Gesture in Phrasing: A Detailed Examination

62 Towards a New Mode of Awareness in Playing

SECTION XIII – ORCHESTRATION

63 Orchestration: The Heart of the Pianist’s Art

PART III — THE BACKGROUND TELL A STORY: HOW CRAFT BECOMES ART

SECTION XIV – EMOTIONAL CONTENT

64 Emotional Content in Bach’s Counterpoint? You Bet!

65 You Must Be Willing and Able to Live Emotionally When You Play

66 The Masterworks as Expressions of Objective Knowledge

67 Real Piano Sound Can Generate Emotional Content

SECTION XV – A FEW LAST THOUGHTS

68 Talent and Craftsmanship

69 Professional Deformations

70 Recording

71 Playing an Acoustic

72 Feeling Emotion in Performance

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