![]() It can be quite a challenge to eradicate them. If they allowed you to play with improper alignment, those first erroneous movements are hardwired into your brain and are there forever. What causes poor alignment? Your first teacher. Fixing the alignment is the answer to both. If you have technical issues at the piano, you can either keep playing, look for magical exercises or, fix the alignment. If your car is out of alignment and it is eating up your tires, you can either keep driving, get new tires or, fix the alignment. If you are lucky, you'll only have a mediocre technique and not develop syndromes and maladies. Heed my warning, tension today will evolve into inflammation and scar tissue tomorrow. A bad teacher would say live with it, just re-fill it, buy a new pool. Only knowledge and hard work will fix the problem. ![]() If your pool has a slow leak in it, you need to sleuth out the leak. It doesn't sound like your teacher can take you beyond that. Tension means you are doing something wrong and your teacher doesn't know what. If your teacher can't suggest a simple adjustment which will give you these notes in an instant, either your teacher has no idea what they are doing on a bio-mechanical level or you've outgrown them and how far they can take you. But, a teacher with a good ear can hear imbalances in the arm's alignment. ![]() Likewise, a pianist can have all the correct movements but they nor their teacher will see a hidden incorrect movement which are usually invisible to the eye. These methods may serve many pianists very well but if there is a problem, they won't know how to correct it. The problem with these "feel" or "vision" methods is they don't teach you the mechanics of the arm. Some people call it playing with grace but ultimately there are laws of physics going on which every pianist should know rather than merely imitating the grace of their teacher. ![]() In piano playing, we have multiple movements such as up/down, in/out, forward/backward, gravity, pronation/supination and all these movements facilitate repeating notes without using the same muscle fiber twice in a row. A third problem is using the same muscle twice in a row. The muscles fight over which direction the bone goes and the tendons become stretched and strained - and our technique suffers. Tension, fatigue and "locking up" occurs when we use two muscles simultaneously to move one bone. When using the arm properly, the fingers barely move. ![]() Let the weight and speed of descent of the arm play the notes. You don't need to play the thumb at all, your pronator will do it for you.ĭon't ever press into the keybed. I'd have to see you play but playing those two sections myself, make sure you are using your pronator and supinator muscles so your forearm employs rotation. ![]()
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