Part I — The Foreground: Physical Craftsmanship at The Piano
I Getting Started
II General Principles Of Movement At The Piano
III Hand Strength and Function A: Perfecting Legato
IV Hand Strength and Function B: The Special Role of the Thumb and
its Relation to the Forefinger
V Hand Strength and Function C: 8ves to Synthesize Hand and Arm
Function
VI Hand Strength and Function D: Maximal Articulation of the
Fingers
VII Above The Hand: The Role Of The Wrist And Arm In Legato
VIII Rotation
IX Natural Finger Shape
X Some Other Touch Strategies and Combinations
Part II — The Middleground: Some Aspects of Musical Craft
XI Rhythm
XII Phrasing
XIII Orchestration
Part III — The Background: Tell A Story: How Craft Becomes Art
XIV Emotional Content
XV A Few Last Thoughts
After studying piano with Phil Cohen and Tom Plaunt in Montreal, Canadian pianist Alan Fraser completed his professional training in the Feldenkrais Method before moving to Yugoslavia in 1990 to collaborate with Kemal Gekic in the development of a new approach to piano technique. Author of several books and a DVD on the subject, Fraser maintains an active Feldenkrais practice and piano teaching position in Novi Sad, Serbia, as well as continuing to concertize and lead workshops worldwide.
Fraser supplements this second edition of his book (1st ed., CH,
Dec'03, 41-2081) with a companion DVD (which must be purchased
separately, from Maple Grove Music Productions). Not simply a minor
expansion, this work shows Fraser's continued progress in
perfecting and illustrating the physical skills necessary to play
the piano with ease and comfort. The basic layout of the volume is
the same: 3 large parts, 15 sections, 72 chapters, plus various
appendixes--all to be used as a whole or in part. The author
expands the book by including more illustrations, by providing the
musical examples that are demonstrated on the DVD, and by adding
some additional subchapters. It is obvious that Fraser is
continually exploring the mysteries of piano performance, applying
the new realizations to his own playing and teaching, and sharing
these refinements with his readers. The DVD (produced in 2006) is
made up of small illustrative chapters of each idea, with Fraser
demonstrating and talking to the viewer as if he or she is in a
lesson with him. The DVD is necessary to understand the written
instructions and must be viewed as the reader progresses through
each part. Inclusive music collections supporting study of the
piano will want this book. Summing Up: Recommended. All
readers.
*CHOICE*
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