34 episodes

You can learn piano up to 1000 times faster (!) compared to other methods. This is the first book ever written on how to practice at the piano. For hundreds of years, many teachers and other books taught you what techniques to acquire, but that is of little use unless you know how to acquire them quickly, as Mozart, Liszt, etc., did.

Fundamentals of Piano Practice Chuang C. Chang / Henrik Pantle

    • Education

You can learn piano up to 1000 times faster (!) compared to other methods. This is the first book ever written on how to practice at the piano. For hundreds of years, many teachers and other books taught you what techniques to acquire, but that is of little use unless you know how to acquire them quickly, as Mozart, Liszt, etc., did.

    FoPP 033 1.II.25 Hands Together and Mental Play

    FoPP 033 1.II.25 Hands Together and Mental Play

    We can finally start putting the hands together (HT)! Some students encounter the most difficulties here, especially in the first few years of piano lessons. Although the methods presented here should immediately help you to acquire technique faster, it will take about two years to be able to really take advantage of everything that the methods of this book have to offer.

    Playing HT is almost like trying to think about two different things at the same time. ...





    http://www.pianofundamentals.com/book/en/1.II.25

    • 1 min
    FoPP 032 1.II.24 Soft Pedal, Hammer Voicing and Physics of the Piano Sound

    FoPP 032 1.II.24 Soft Pedal, Hammer Voicing and Physics of the Piano Sound

    Grand pianos: The soft pedal is used to change the mood of the sound from percussive to more serene and gentle when the soft pedal is depressed. It should not be used solely for producing a softer sound because it will also change the timbre. In order to play pianissimo, you will just have to learn how to play more softly. You can produce very loud sounds with the soft pedal depressed. One difficulty with the soft pedal is that it (una corda, or more correctly due corda for the modern grand) is often not indicated, so the decision to use it is often left to the pianist. For uprights, it mostly decreases the volume of the sound. The soft pedal on most uprights has a negligible effect on timbre. Unlike the grands, the uprights cannot produce loud sounds with the soft pedal depressed.

    Many pianists do not understand the importance of proper hammer voicing for the soft pedal to be effective.

     

    http://www.pianofundamentals.com/book/en/1.II.24

    • 1 min
    FoPP 031 1.II.23 Damper Pedal

    FoPP 031 1.II.23 Damper Pedal

    Practice any new piece without the pedal HS, then HT, until you can play it comfortably HT at final speed. This is a critically important method of practice that all good teachers use with all their students. It may seem difficult, at first, to practice musically without the pedal where it is needed; however, this is the best way to learn precise control so that you can play more musically when the pedal is eventually added. Students who practice with the pedal from the beginning will become sloppy players, develop numerous bad habits, and will not even learn the concept of precise control or the real meaning of musicality.

     

    http://www.pianofundamentals.com/book/en/1.II.23

    • 1 min
    FoPP 030 1.II.22 Bad Habits: A Pianist’s Worst Enemy

    FoPP 030 1.II.22 Bad Habits: A Pianist’s Worst Enemy

    Bad habits are the worst time-wasters in piano practice. Most bad habits are caused by stress from practicing pieces HT, that are too difficult. Many of the bad habits from HT practice are difficult to diagnose, which makes them that much more dangerous. Clearly, the best defense against bad habits is HS practice. Non-musical play is one type of bad habit; therefore, don't forget that musical play starts with HS practice. ..


    http://www.pianofundamentals.com/book/en/1.II.22

    • 1 min
    FoPP 029 1.II.21 Building Endurance, Breathing

    FoPP 029 1.II.21 Building Endurance, Breathing

    "Endurance" is a controversial term in piano practice. This controversy originates from the fact that piano playing requires control, not muscle power, and many students have the wrong impression that they will not acquire technique until they grow enough muscles. On the other hand, a certain amount of endurance is necessary ...

    http://www.pianofundamentals.com/book/en/1.II.21

    • 1 min
    FoPP Summer-Break 07

    FoPP Summer-Break 07

    Hello, this is Henrik from Berlin, Germany. I just want to tell you, that I’m going to have my summer-break until the end of August.

    I promise, I will read the complete “Part II - Basic Procedures for Piano Practice” in this year.
    I’m not sure - yet - if I’ll do more.
    I’d like to say here that comments are enabled again on my website fopp.henrik-pantle.de
    And: I’m still waiting for some customer reviews in the UK- and US- iTunes Store.
    So, now enjoy a relaxing and recreating summer.

    Good bye, and stay subscribed, Ihr Henrik Pantle

    • 1 min

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