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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