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PS 1 - Introduction
Dr. Graham Williams, my former piano teacher and co-author of our Scales & Arpeggios Book, commenced his Classical piano studies at an early age. After 22 years of study and performances (including recitals on Australian National radio) he obtained his PhD with a thesis on the piano music of the famous contemporary French composer and (the late) Head of the Paris Conservatoire Olivier Messiaen. This thesis earned him a 3-year scholarship in Paris to study under Messiaen and his world renown piano teacher wife Yvonne Loriod. After greeting him on his arrival at the airport they immediately took him to the studio, placed him on the piano stool and explained (as Graham years later with a great smile related to me) :
"I almost fell of my stool!" Graham confessed to me. "But you know what?!" he continued, "they were absolutely right!!"
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
For a full year Graham was confined to the small practice studio and not allowed to make a single performance. During this period he learnt the piano technique developed by Franz Liszt and passed on and kept alive in France through renown teachers like Yvonne Loriod and Germaine Mounier. The results were nothing less than spectacular : the birth of a rich and beautiful crystal clear tone, an effortless fluidity and a rhythmic capability with which he could master even the most demanding and complex Messiaen compositions. Years later I myself had the great fortune to learn this wonderful technique from Graham , be it at a much more modest level of expectation and competence. As a relative beginner it took me about 3 years (instead of 1) to develop the technique, with greatly pleasing results in terms of touch, fluency and tone. Being a creative, research oriented thinker, I could follow and acknowledge the various stages of development I went through and recognise the results. But the question for me always remained : I understand what to do and how to do it, but why is this so ? For a full year I kept searching for the answer, questioning professionals from the medical and physiotherapy fields and roaming through various books and articles. The answer which I finally arrived at is as simple as it is conclusive. I have always believed that understanding is the greatest motivator. Once you understand why you should practice this or do that, you become deeply motivated to follow through. This is the basis for both my Piano Technique Course and my Saxophone Course. For the Piano the secret to a fluent technique and strong, crystal clear tone, lies in the palm of your hand, as I will explain to you below.
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the Flexors Digitorium Profundus, which run from the elbow along the lower
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
arm, through the 'carpal canal' under the wrist, to the 1st finger joint (nearest the finger tip) of each finger.
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the Lumbricals, branch off from the Flexors Digitorium Profundus at a point within the hand palm and run to each knuckle joint.
the Flexors Digitorium Superficialis, also run from the elbow, along the forearm, under the wrist, to the 2nd finger joint of each finger. (They split near the end to let the Flexor Profundus tendon pass through to the 1st finger joint.)
Above muscles are used to curve (and close) the fingers of the hand. To do this however another set of muscles (the Flexor & Extensor Carpi) must hold the wrist firm (therefore stiffen the wrist), otherwise the Flexor Digitorium muscles would roll up the fingers, hand and wrist like a bamboo curtain.
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
(The Extensors Digitorium muscles (not shown in above diagram) are used to straighten the finger and knuckle joints, opening the hand. These muscles and their tendons run from the elbow, over the wrist and the back of the hand to connect with the knuckle and finger joints via the Extensor Expansion sheet, that extends over the back of each finger. More about this muscle system below.)
The Flexor Digitorium muscle system is very powerful and we use it continuously for most of our finger movements. However these muscles are not suitable for a good piano finger technique, because :
1. the muscles are located largely outside the hand, too far away from the
rebounding gravity stroke. This results in a lack of tone quality, resonance, clarity and fluency .
4. excessive use of these muscles in piano playing can easily lead to
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PS 3 - The Interossei
The second muscle system controlling finger movement is located entirely within the hand. It consists of the Palmar and Dorsal Interossei muscles. These are grafted on either side of the metacarpal bone (palm bone) for each of the four fingers and run to the finger bone (phalange) just past each knuckle.
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
Used individually the Palmar interosseus pulls the finger sideways in one direction, the Dorsal interosseus sideways in the opposite direction.
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
When used simultaneously the Palmar and Dorsal Interossei flex the knuckle joint forward (or, when the hand is in a horizontal position, downward). Most importantly these muscles are located entirely within the hand palm, and therefore can flex the knuckle joint (and achieve a proper finger action) without stiffening the wrist. For a good finger action in piano playing we must therefore use the Interossei muscles and flex the fingers from the knuckle joints. This leaves the wrists relaxed and flexible. There is however a problem In every day finger movement the Interossei play only a secondary and supportive role in flexing the knuckles. The prime movers in knuckle flexion are the Lumbricals, for two reasons :
1. When the knuckle joint is fully extended the Interossei are parallel to, and in line with the palm and finger bone.
In this position the Interossei cannot start to flex the knuckle joint forward (or downward). The Lumbricals approach the finger bone at a larger angle than the Interossei. This means that they can flex the knuckle joint even when the knuckle joint is fully extended.
The Lumbricals are therefore the starter muscles for the knuckle flex action. 2. The Lumbricals, being an offshoots of the powerful Flexors Digitorium Profundus are much stronger than the Interossei muscles.
We therefore rely on the Lumbricals to do most of the knuckle movements throughout our daily activities, including our finger actions on the keyboard.
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Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
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In this position the Interossei can function as starter muscles. 2. Develop Interossei muscle strength. Through regular technique practice as outlined in my Piano Technique Course.
Gradually the Interossei will become stronger. You will notice this by a most peculiar feeling within the palms of your hands : the interossei, as they become thicker, are pushing out the palm bones widening your hands. Once the interossei have become strong enough to support the hand and arm it is time for the flexors and lumbricals to phase out their action. This
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Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
mental step of trusting your fingers was for me at the time the most difficult process. Sooner or later however the brain will get the message and gradually diminish and relax the flexors and let the interossei do the work . This then frees up the wrist, enabling the development of tone, resonance, clarity, great evenness and fluency in your playing. Just playing piano regularly does not necessarily strengthen the Interossei muscles. But sustained regular practice of the right exercises in the correct way will.
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PS 5 - Fundamental Guidelines
Good piano technique maximises the use of two sets of muscles.
1. The Interossei, to support the weight of the hand, arm or body and to assist when required to the gravity keystroke.
2. the Extensors Digitorium, to lift the fingers off the keyboard after they have played each note. (Extensor Digitorium actions do not stiffen the wrist, as the natural weight of the hand prevents any upwards flexing or instability of the wrist.)
thumbs pointing downwards, so that the weight of the hand is supported by the fingers (Interossei).
2. Keep the hands balanced on the fingers, with a slight forward
pressure towards the piano. (This keeps the finger joints locked in position.)
Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique
Never pull the hand backwards, for this either causes the fingers to collapse, or, in an attempt to prevent this, will bring the Flexor Digitorium muscles into action causing stiffening of the wrist.
3. Use the knuckle joints for all finger action. 4. Use gravity, viz. the natural drop of the finger, hand or arm, as the
main source of energy. It is most useful to have some understanding of the the muscle actions for a good finger technique. However do not become obsessive about it while practising. Just follow the simple instructions, lesson schedules and exercises provided in my Piano Technique Course (at your own pace) and things will fall into place and develop naturally.
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When a student comes face to face with his instrument for the first time the two meet as complete strangers. The immediate objective is to get to know each other and to start building a winning team. But in order to come together change is required.
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Each instrument has its unique soul and temperament (perhaps reflecting that of it's original maker ?). However an instrument does not have a mind or a living body, and therefore can not change its ways. It is therefore up to the student to change. This change is achieved through the practice and development of a good technique. As your technique practice progresses you gradually become a different person. Certain muscles will grow, new coordination skills and thought processes will develop and your attitude towards your instrument and towards music in general will change substantially. Steadily you move closer to the ideal point, where the piano and you become one united instrument through which you express yourself with a unique, personal musical voice
Franz Liszt is widely regarded as the founder of play technique for the modern piano instrument. Liszt himself studied with the legendary teacher Carl Czerny, who in turn was a student of Beethoven. They represent a musical 'bloodline' through which piano technique expertise was passed on in time. Franz Liszt spent part of his earlier life in Paris where he had a great influence. His piano technique method lives on in that city today through two of the world's leading piano teachers, Yvonne Loriod (widow of the composer Olivier Messiaen) and Germaine Mounier. My own teacher, Dr. Graham Williams, was taught by both these ladies when he studied at the Paris Conservatoire and the Ecole Normale de Music in Paris.
The Jazclass Piano Technique Course is an extension of the modern Liszt method. It incorporates :
1. Graham Williams' instructions as published in our jointly written book Scales & Arpeggios for the Jazz Pianist, and my six years of piano study with him. 2. A uniqe analysis of the anatomy of the hand as it applies to the finger motion on the piano. Its conclusion is easy to grasp and stunningly revealing as to how you should play the piano. (To my knowledge this is not explained in any other textbook or course available.) Insight into this vital aspect will boost your motivation to practise, and will be the guiding principle in developing a correct finger technique. 3. A series of technique exercises written for this Course - and detailed instruction on how to play them - to develop a superior finger technique. They are similar to exercises by Liszt, Czerny, Poisot, Clementi, etc., but feature Jazz oriented harmonies. References for additional famous classical material are also included. Be aware : the best exercises in the world are only effective if you play them correctly! (I learned this myself the hard way many years ago, and as a result wasted about 2 years of valuable practice time.)
Most piano players push the keys down. This produces either a crude blunt sound or a rather weak and thin tone. Good pianists use the gravity force from the weight of their fingers, hand and arm. This produces (on the acoustic piano) an enormous difference in resonance and overall tone quality, often not realised by the novice student.
2. enable cleanly articulated even flowing passages at any speed
Nothing sounds laboured, muffled or irregular. All notes can be heard individually, but at the same time are fluently strung together in an apparently effortless manner.
3. avoid repetitive strain injury (rsi)
The tendons of the flexor digitorium muscles move through the carpal tunnel under the wrist. Poor technique relies heavily on these muscles and often causes inflammation of the carpal tunnel and other muscle damage.
Development of instrumental technique is a life-long process, but provided you are on the right track you will always continue to improve. This Course can place you firmly on that track.
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A relative beginner will have developed a good technical foundation after about 3 years of practice. A more experienced player will have confidently converted to this professional technique within about one year of practice.
Oscar Peterson is a good example of a famous Jazz pianist with an outstanding technique (learnt in Paris). Other well known Jazz pianists who studied in Paris include John Lewis and of course Jacques Loussier.
PT 4 - Course Outline
The Piano Technique Course is distributed on CD-ROM, suitable for both PC and Macintosh computers. Simply copy and paste the 'Piano Technique' folder from the CD onto your computer, open the access file in the folder with your web browser (without going online), and all lessons are at your fingertips.
You can order this course Secure ONLINE or by email or Airmail letter.
The Piano Technique Course assumes that you have some basic music reading skills and are playing or studying the piano already (from 1 year up to perhaps a lifetime). It is recommended that you practise on an acoustic piano, or (second best) an electric keyboard with weighted keys. This will enable proper development of essential playing muscles.
The first two lessons present an easy to understand clear concept of what a good piano technique is and why that is so. They will change the way you approach your piano playing forever. The following lessons deal with all essential types of exercises to develop a good technique. They explain what to practise and how to practice and also include audio demos (midi files) for every exercise in the Course.
The Course contains a Practice Folder (to print out) with 75 pages of scales, chords, exercises and songs. Also included are a choice of daily practice schedules and a long term program to guide your progress in an organised manner.
Lesson 6 - Fixed Hand Position Exercises Lesson 7 - Fluency Exercises Lesson 8 - Arpeggios Lesson 9 - Digital Patterns Lesson 10 - Chords Songs
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Lesson 2 - Anatomy
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There are Play-a-Long midi file tracks for all songs, a Logbook to record your progress, and a Subject Index for quick reference.
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Michael
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Entry Page - Contents Page - Courses - About Jazclass - About Michael - Questions & Comments Midi Library - Notes on Notes - Profiles - Furstners - Links around the World - Note Terminology Free Lessons : Music Notation - Blues - Improvisation - Saxophone - Piano - Scales & Chords Rotating Lessons : Reading Music - Basic Theory - Jazz Theory - Woodshed - Songs - In Focus Visual Arts : Jazclass Galleries - Soul Portraits - Graphics - Lino cuts - Ceramics Special Interests : Contract Bridge Lessons - Travel tips for around Australia
How to Order - Prices - SPECIALS - Secure ONLINE Orders - MAIL Orders - Orders by Email
JAZCLASS : Jazz scales , Jazz lessons, learn to play Jazz Book by Michael Furstner
Contents
1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.
The Overtone Series The Circle of Fifths The Pentatonic Scales The Blues Scale The Major Scale and its modes The Bebop Scales The Harmonic minor Scale The Melodic minor Scale and its modes The Symmetric Scales Scales Overview Chords and Arpeggios Scale Rulers PIANO TECHNIQUE
1. Objective 2. Method 3. Practice
FINGERING CHARTS
JAZCLASS : Jazz scales , Jazz lessons, learn to play Jazz Book by Michael Furstner
Dr.Graham Williams outlines in this book the professional piano technique as taught at the Conservatoire de Paris by Evonne Loriod, one of the world's
leading piano teachers. The Charts show keyboard fingering for both right and left hand for 20 scales and 7 arpeggios in all keys. The Jazclass Music Library contains Play-a-Long midi file tracks for practice with the most important scales.
'Scales & Arpeggios for the Jazz Pianist' is suitable for all instruments. It includes keyboard fingerings for all scales, but the scales charts, explanations of the scales and the tables showing their uses in improvisation apply to (and are the same for) any instrument. It is therefore a most valuable resource and companion for every student of improvisation regardless his/her instrument.
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About Jazclass
Jazclass has been online since October 1995 and continues to go from strength to strength.
In recognition of its "cultural and artistic value" Jazclass was one of the first websites monitored and archived in its entirety by the National Library of Australia.
You can enjoy the Jazclass music lessons in four different ways.
1. Free lessons Online There are a range of songs, articles and lessons online. One new lesson is uploaded every 15 days. The main subjects are : Basic Theory - Jazz Theory - The Woodshed - Songs - Articles and Profiles Also : Learn to Read Music : 10 lessons to get you started, rotating each week In Focus : 10 lessons on a range of music topics for practice,
rotating every 2 weeks Contract Bridge : 8 lessons on learning to play bridge (a hobby of mine), rotating every 2 weeks 2. Email Courses There are three Courses to choose from : Chords Basics - Blues - Improvisation 3. Six great Courses on CD-ROM In web style format, with the same look and approach as the Jazclass lessons online. Jam Factory - Jazz Theory - Music Notation - Piano Technique Rhythm Class - Saxophone 4. Three Jazclass books Chords Book 1 - Scales Book - Blues Book
The Blues Basics and Improvisation Email Courses would be your best choice. You receive one new lesson each week or each 14 days. This helps you to practise. Each Lesson includes at least one new song. 3. "I want to learn Jazz improvisation, and also more about music". The Jazclass Improvisation Package is just made for you. It consists of the Blues Basics and Improvisation Email Courses, the Jazz Theory, Jam Factory and Rhythm Class Courses on CD-ROM, plus the Scales & Arpeggios book for further reference. This gives you a very comprehensive resource to get right on top of it all. 4. "I have followed the Jazclass email courses. Now what ?!" You mean you are really ready for more punishment? Then try the new Jam Factory Course. Twenty more sessions for study and improvisation. Each session includes : r one new song - musical aspects of each song are analysed r a new aspect to improve your improvisation skill is introduced, and r a practice assignment for each week is provided. 5. "I want to improve my Instrumental Technique (Piano or Saxophone)". No matter how long you have played, 6 months or 30 years, the Piano Technique or Saxophone Course will change the way you relate to your instrument forever! These Courses provide you with a clear concept of what a good technique consists of and why that is so. It then outlines exactly what to practise and how to practise it. Extensive practice material for you to print out is included. (You can do the technique course at your own pace and combine it, if you like, with the Blues Basics or Improvisation Email Course.)
Sugunya
Lauzi
As Jazclass grows I hope to expand sponsorship to more children in various countries around the world in the future.
World Vision Sponsorship aims to provide better lives for many of the world's needy children, by changing their desperately poor living conditions. Through the Child Sponsorship scheme World Vision provides a child and its community with a wide range of services such as : food - clean water - health care - schooling - education - vocational training adequate housing - management skills - revolving loan schemes - etc. For more information visit the World Vision website or contact them by email.
Australia . . . . Home
of Jazclass
Michael's Resume
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Travelling around Australia After 10 happy years at the Sunshine Coast I suddenly felt like a change and moved to tropical Darwin in 2001. From November 2002 onwards I am camping and travelling by car around Australia, while maintaining Jazclass from my iBook and mobile office (a Mercedes Vito).
I will stay in the tropics (in Darwin, Broome or North Queensland) during the cool Southern Hemisphere winter months (April - October), and travel happily around to anywhere I fancy during the summers. I find travelling through the vast Australian outback always a unique experience. It gives me peace, a deeper connection with the Universe in which we live, inspiration and loads of renewed energy. Rest assured that throughout my travels I am online every day to maintain Jazclass, to answer your questions, and to serve the ever increasing number of happy and very
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satisfied customers. I feel strongly that wherever I am during my travels you are always in spirit with me.
Michael.
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Graham Williams was born in Adelaide (South Australia) in 1945. He studied piano, music education and musicology at the University of Adelaide from 1964 to 1972. He graduated with a B.Mus.(Hnrs.) and Dip.Ed. in 1969, and, after receiving a Commonwealth Post Graduate Award completed his Ph.D. on the piano music of Olivier Messiaen in 1972.
In 1973 Graham was awarded a French Government Scholarship and continued his study of piano and music analysis in Paris, at the Paris Conservatoire and the Ecole Normale de Musique, for three years with Olivier Messiaen, Yvonne Loriod and Germaine Mounier. While in Paris he gave concerts and recorded for the French radio, and graduated from the Ecole Normale in 1976. After travelling through Europe and Asia he returned to Australia in 1978 and taught both at the University of Adelaide and the South Australian College of Advanced Education. He has given numerous concerts, lecture recitals, master classes and first performances in Australia, and has broadcast for Radio 5UV and the ABC.
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While in Europe he became interested in the work of meditation and studied for ten years with recognised teachers in Eastern meditation tradition. He is now resident teacher of the Adelaide Meditation Centre in South Australia, of which he is a co-founder. Graham still teaches piano technique at the Jazz Department of Adelaide University and gives private tuition to selected post graduate piano students. Graham can be contacted by phone (08 - 8388 6619), mail or email.
Dr.Graham Williams PO Box 579, NAIRNE, SA 5252, Australia Email : info@lifeflow.com.au Website : www.adelaidemeditation.com.au