Відео

You’re very welcome!

@@pulykamell Join the club!

@@powerwhiteangel Thank you for your response. I’m wondering if you watched the entire video the main point of which was that the wrist does not have time to rotate at fast speeds. If what you believe is true, about rotating at fast speeds, I would appreciate you sending me an example demonstrating that as the hand is playing a fast scale. Simply play the scale at a fast speed while video taping with your iPhone, set on slow motion.

@@powerwhiteangel not to belabor a point, but where did you come up with the percentages listed? Why not 83% fingers and 17% rest in arms, etc.. In a future video, I will demonstrate that the precise articulation of notes in a passage Has very little to do with the rotation of the wrist or the use of any other body parts other than the fingers.

@@betsyprokop4802 The percentages were there to better illustrate what I was trying to explain. It’s how I approach it with my students-it’s more digestible that way, especially when explaining high-level techniques. The rotation of the wrist plays a very minor role compared to the arm but needs to be free and flexible as you move your arm, which does the majority of the work along with the rest of your body. If you’ve played Transcendental Études by Liszt, for example, you know that he loves very fast scales. But what he enjoys even more is breaking them up, removing a note or two, and making jumps between sections. It's one of the examples where using the thumb-under technique doesn’t work anymore, and your arm needs to take over most of the work. People with large hands can cheat a little, but if you have small hands, it’s even more important to be able to switch between these techniques. I watched the entire video, of course, and as I said, it’s a great video! P.S. I won’t make a video to explain this; I don’t have the time. Frankly, I’ve watched hundreds of videos, and if I needed to make a video each time to explain my argument, it would be a full-time job.

Thank you for your reply. I’m not sure what you mean by, ‘It only occurs in the C major scale…’

@@pianopowerlessons In scales which include black keys the 'thumb under' is much more comfortable and nobody would play thumb over there. It's only proposed for all white scales.

@@kpunkt.klaviermusik Got it. Thanks.

@@pianopowerlessons No problem. I thought about it again and realized: the 'thumb over' term is misleading. It does not mean to move the thumb separetly over an other finger - but to move the whole hand instead of the thumb alone. It will not solve the finger legato problem. Fast scales are not played with strict finger legato in any case.

@@kpunkt.klaviermusik Agreed

@@kisha_music That makes sense to me, Kisha, since I have a relatively large hand. I would appreciate if you could elaborate more on what you are describing. I’m always interested in learning about different perspectives. Perhaps, you could make a video and send it to me.

@@pianopowerlessons do you have an email address

@@pianopowerlessons you can share mail id

@@michelleyb.9709 interesting that you bring this point up. I plan to do a video on this. All chances of being a great pianist were destroyed when my first teacher, a Juilliard graduate, told me that I should be able to play a scale with a penny on top of my hand and that the penny should not fall off while doing so. The net result was that for the next at least 10 years, I played with a completely stiff right arm, from the elbow down to the fingers, which prevented the fingers from moving naturally thereby destroying any possibility of proper technical development.

@@francescomanfredi thank you for your kind comments! I am not sure what you mean by ‘the first lesson of the book’, since I’ve already presented lessons for the first three songs. In any event, the book is certainly worth having in your possession. You can also download it for free by doing a Google search on ‘John Thompson Book One PDF’. The main reason that I like this book more than others is that the songs are very well written. I also like the fact that the hand stays in one position throughout the entire song, eliminating the anxiety of lifting one’s hand off the keyboard in order to find a new position. There is also the added benefit of seeing the same five notes over and over again, which is an advantage to someone who is just learning to read music.

Oh thanks, I now see the playlist with all the lessons in order, keep going maestro!

@@francescomanfredi okay Francesco. Will do!

Will do Michelle. Thank you for your feedback!

@@michelleyb.9709 Thanks Michelle! I really appreciate your feedback.

@@everyonecan3338 Thank you!

@@everyonecan3338 I really appreciate your feedback and it’s very important to know that you would like more lessons from the John Thompson book. Please stay tuned for future lessons and be well. Also… please check out my book, ‘Piano Power, A Breakthrough Approach to Improving Your Technique.” …A must-read for all pianists… pianopower.com/

@@kpunkt.klaviermusik Thank you for your response. Btw… I checked out your UA-cam site and love your playing!

@@vk7898 Thank you. I’m happy that the lesson helped you!

Thank you for the positive feedback Marcia! I’m happy that the lesson gave you a new insight into playing the piano. Since you are a beginner, the John Thompson playlist would be a great help to you… Practice Together - John Thompson Book 1 ua-cam.com/play/PLhp0_OteMg9oLnQ7VougWlZYgdKOTs1sF.html You may also want to consider purchasing my book, Piano Power, which is a must read for all pianists… pianopower.com/ Good luck to you and please feel free to contact me whenever you have a question .

Thanks Dean!

Thank you!

You’re welcome!

Thank you Samir!

Your welcome. Be patient with it. It takes time to get results.

Thank you!

You’re welcome. I’m glad the video is helping you.

Thank you!

You’re welcome!

Grazie Francesco. Mi piace molto la tua musica!

@@pianopowerlessons Grazie mille 🙏 maestro!

Thank you Francisco. Unfortunately I can’t think of any other songs to apply this progression to. Perhaps you can try writing a song of your own based on these chords!

You’re welcome!

Thank you!

Yes. This is a great topic for discussion Tim. One might consider the fact that the vast majority of European classic music from the 17th century up until the early 20th century was subsidized by and produced for the benefit and pleasure of aristocrats within monarchical societies. Whereas Jazz is the product of a wider variety of cultures that exist within a democratic society.

You’re welcome.

Thanks again!

Thanks. Your band sounds great!

Sorry…I think you’re confusing me with my good friend Teddy Primack who did in fact have a Kawai dealership in Brooklyn 40 years ago. Perhaps we met at his store.

You are Correct. It was Teddy Primack. Found the receipt .... 1984. Long time ago. I had taked a couple of lessons from you not long after that.... Mutual friend of Steve Russo. Glad to see your doing well Rick. I doubt youll remember me, Charlie.. Hawthorne NY.@@pianopowerlessons

@@CRV1958 Send me your number Charlie and I’ll give you a call.

You’re welcome. Glad you enjoyed it!

You’re welcome Trinsia!

You’re welcome!

Thank you Aviv!

Glad you enjoyed listening to them!

Yes…there is a difference in both theory and reality, because in any Major key, the chord built on the sixth step of the scale is by definition, a Minor triad. For example, in the key of CMajor, by naming or referring to the triad on its sixth step as ‘VI’ instead of ‘vi’ implies that you have changed that triad to (A-C#-E)…a Major triad that does not naturally occur in C Major. Therefore, you have changed its function (or how it operates within that key) to that of a V chord that gravitates or pulls powerfully toward the ii chord DMinor. Hope that helps!

@@pianopowerlessons thank you it sure does make sense

@@oshada You’re welcome

You’re welcome

Thank you!

Thank you again

Thank you again!

You’re welcome!

Thanks for your feedback!

Thank you. Much appreciated!

Thank you Adrian. I really appreciate it!