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Piano Power Lessons
Приєднався 9 жов 2011
How to Play 'Runaway River' from John Thompson Book 1 - Lesson 2
In this lesson you will learn about "Physical Groups", a method of grouping notes together based on the action of the fingers.
For more information about piano technique and methods visit: www.pianopower.com
For more information about piano technique and methods visit: www.pianopower.com
Переглядів: 21
Відео
Lesson 9: Extension to an Octave at the Piano for Thumb and Fifth Fingers using the Db Major Scale.
Переглядів 39День тому
This is the fifth in a series of extension exercises for the Thumb and Fifth Fingers. You will learn how to develop the extensor muscles of your Thumb and Fifth Fingers through careful and deliberate exercise while playing sevenths and octaves in Db Major. For more information visit: www.pianopower.com
How to Play 'Runaway River' from John Thompson Book 1 - Lesson 1
Переглядів 67День тому
This lesson provides an analysis of the piece along with a description of the dynamic markings that are used in musical scores. An introductory method of playing the Right Hand is also provided. For more information on piano technique and practice methods visit: www.PianoPower.com
Myth #3: The Thumb Goes Over the Hand When Playing Scales
Переглядів 1,5 тис.14 днів тому
In this lesson several attempts will be made to play scales WITHOUT the thumb going under the hand. All attempts prove to be unsuccessful. For more information on piano practice techniques vist: www.PianoPower.com
How to Play 'Traffic Cop' from John Thompson Book 1 - Lesson 3
Переглядів 6721 день тому
In this lesson you will learn techniques for playing the hands together. For more information visit: www.pianopower.com
How to Play 'Traffic Cop' from John Thompson Book 1 - Lesson 2
Переглядів 74Місяць тому
In this lesson you will learn to play the left hand and how its movements relate to the right hand. For more information about piano technique, visit: www.PianoPower.com
How to Play 'Traffic Cop' from John Thompson Book 1 - Lesson 1
Переглядів 142Місяць тому
In this lesson, you will learn about the concept of a 'slur' while learning to play the right hand. For more information, visit: PianoPower.com
Myth #2: Your Fingers Don't Lift When Playing the Piano at Faster Speeds
Переглядів 1,7 тис.Місяць тому
For more information on technique and keyboard, practice methods, visit: www.PianoPower.com
Myth #1: There Are Little Muscles in the Fingers
Переглядів 972 місяці тому
This is the first video of my new 'Myth Buster' series. For more information about piano technique visit: www.pianopower.com
Lesson 8: Extension to a Seventh at the Piano for Thumb and Fifth Fingers using the Db Major Scale.
Переглядів 5692 місяці тому
This is the fourth in a series of extension exercises for the Thumb and Fifth Fingers. You will learn how to develop the extensor muscles of your Thumb and Fifth Fingers through careful and deliberate exercise while playing sixths and sevenths in Db Major. For more information visit: www.pianopower.com
Unit 4 - Lesson 25: Understanding Tritone Substitutions Using A7 and Eb7 in the Key of D Major
Переглядів 1362 місяці тому
In this lesson you will learn about the altered mixolydian scales beginning on A and Eb along with four examples of their usage within a II-7 -V7 - I progression in D Major. For more information visit: www.pianopower.com
Lesson 7: Extension Exercise at the Piano for Inner Fingers using Root Position Triads - Db Major
Переглядів 7412 місяці тому
This is the fourth in a series of extension exercises for the Inner Fingers. You will learn how to develop the extensor muscles of your second, third and fourth fingers through careful and deliberate exercise while playing first inversion triads in Db Major. The topic of playing black keys as being distinct from playing white keys will also be discussed. For more information, visit: pianopower....
How to Play ‘Runaway River’ from John Thompson Book 1 - Lesson 3
Переглядів 1583 місяці тому
In this lesson you will learn to play the hands together using various practice techniques. Visit: www.PianoPower.com
How to Play ‘Runaway River’ from John Thompson Book 1 - Lesson 2
Переглядів 793 місяці тому
In this lesson you will learn about the left hand melody as one that can stand on its own. Aside from learning to play it, you will also learn how to harmonize with chords in the right hand. Visit: www.PianoPower.com
How to Play Unequal Swinging Eighth Notes on the Piano - Exceptional Cases Part 3
Переглядів 2273 місяці тому
In this lesson you will learn to play swinging eighth notes using three-note hemiolas in the form of triads. Make sure to visit: www.PianoPower.com
How to Play ‘Runaway River’ from John Thompson Book 1 - Lesson 1
Переглядів 1293 місяці тому
How to Play ‘Runaway River’ from John Thompson Book 1 - Lesson 1
How to Play Unequal Swinging Eighth Notes on the Piano - Exceptional Cases Part 2
Переглядів 3044 місяці тому
How to Play Unequal Swinging Eighth Notes on the Piano - Exceptional Cases Part 2
How to Play 'Patterns' from John Thompson Book 1 - Lesson 3
Переглядів 1344 місяці тому
How to Play 'Patterns' from John Thompson Book 1 - Lesson 3
Unit 4 - Lesson 19a: Moving Around a Key Area Using Dominant Seventh Chords - Part 2
Переглядів 1934 місяці тому
Unit 4 - Lesson 19a: Moving Around a Key Area Using Dominant Seventh Chords - Part 2
Unit 4 - Lesson 24: Understanding Tritone Substitutions Using D7 and Ab7 in the Key of Db Major
Переглядів 914 місяці тому
Unit 4 - Lesson 24: Understanding Tritone Substitutions Using D7 and Ab7 in the Key of Db Major
How to Play 'Patterns' from John Thompson Book 1 - Lesson 2
Переглядів 1825 місяців тому
How to Play 'Patterns' from John Thompson Book 1 - Lesson 2
How to Play 'Patterns' from John Thompson Book 1 - Lesson 1
Переглядів 1 тис.5 місяців тому
How to Play 'Patterns' from John Thompson Book 1 - Lesson 1
How to Play Unequal Swinging Eighth Notes on the Piano - Exceptional Cases Part 1
Переглядів 7295 місяців тому
How to Play Unequal Swinging Eighth Notes on the Piano - Exceptional Cases Part 1
How to Play Unequal Swinging Eighth Notes on the Piano
Переглядів 5775 місяців тому
How to Play Unequal Swinging Eighth Notes on the Piano
Unit 4 - Lesson 22: Understanding Tritone Substitutions Using G7 and Db7 in the Key of Gb Major
Переглядів 1836 місяців тому
Unit 4 - Lesson 22: Understanding Tritone Substitutions Using G7 and Db7 in the Key of Gb Major
Three Important Things Great Pianists Can Easily Do
Переглядів 3006 місяців тому
Three Important Things Great Pianists Can Easily Do
How to Play 'Music Land' from John Thompson Book 1 - Lesson 3
Переглядів 747 місяців тому
How to Play 'Music Land' from John Thompson Book 1 - Lesson 3
Unit 4 - Lesson 23: Understanding Tritone Substitutions Using D7 and Ab7 in the Key of G Major
Переглядів 2297 місяців тому
Unit 4 - Lesson 23: Understanding Tritone Substitutions Using D7 and Ab7 in the Key of G Major
How to Play 'Music Land' from John Thompson Book 1 - Lesson 2
Переглядів 1547 місяців тому
How to Play 'Music Land' from John Thompson Book 1 - Lesson 2
How to Play 'Music Land' from John Thompson Book 1 - Lesson 1
Переглядів 1747 місяців тому
How to Play 'Music Land' from John Thompson Book 1 - Lesson 1
You might want to consider getting an electric keyboard that is touch sensitive, meaning one whose volume varies depending on how hard or gently the keys are struck. They are all tuned using equal temperament, never go out of tune and are quite nice to play depending on which one you get.
If one had the fortune to own a stable , well scaled , solid equal tempered tuning with impeccably clean unisons, the focus on tempo and equal beating intervals is quite a meditative experience with focus.
wow, thank you for explaining this so well! there is so much technique in this piece
You’re very welcome!
Is this really common advice, about the thumb going over? I have never heard of it and it makes no sense to me!
@@pulykamell Join the club!
Hi, great video ! You’re right about the thumb needing to pass under the hand. It’s the only way to achieve smooth movement when playing scales in your examples. However, that technique has a limit: speed! When you need to play scales in virtuoso pieces, the thumb can slow down the movement. That’s why it’s replaced by hand rotation and, more importantly, the arm and the whole body. So, when playing scales at slow/moderate/fast speeds: thumb under. = 90% fingers and 10% wrist and arm. When playing scales at very fast/virtuosic speeds: rotation and arm. = 80% arm, shoulders, back, and 20% fingers.
@@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.
It's such a theoretical problem, because it only occurs in the C major scale only in one direction (RH upwards LH downwards) only in fast tempo only when you really want to play with perfect finger legato. In all other cases scales are very comfortable to play on the keyboard. And yes: thumb under is the normal and best working method of playing scales.
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
I believe you are taking a unique pedagogical approach. But one crucial aspect missing in your approach is in and out motion to accomodate for different finger lengths.
@@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
You’re welcome
There's actually quite a lot to learning this simple piece. Thanks for walking us through it
Just figured out what you mean by " down up". Intetesting bc I always thought the wrists wete supposed to be so still that a glass of water could balance on them while playing
@@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.
Finally the first lesson of the book! I was wondering why you started with the other lessons but now with your added articulation makes perfect sense, you should have been the editor of this book! By the way why do you like this method more than others? Should I buy it?
@@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!
Please walk us through the rest of the book! I am an adult learner with some formal instruction from years ago. I am trying to learn piano and appreciate your teaching style!
Will do Michelle. Thank you for your feedback!
Subscribed! Love the relaxed teaching style
@@michelleyb.9709 Thanks Michelle! I really appreciate your feedback.
Wow your patience In teaching amazing
@@everyonecan3338 Thank you!
Your teaching is marvellous, thank you for spending time. We want entire videos from John Thomson book.
@@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/
Absolutely correct. There are so many wronng theories about piano playing, that just don't work. Some are working at low speed, some aren't working at all.
@@kpunkt.klaviermusik Thank you for your response. Btw… I checked out your UA-cam site and love your playing!
Thank you for your lesson. It make sence. 😊 I thought something was wrong with my fingers.😅
@@vk7898 Thank you. I’m happy that the lesson helped you!
As a very beginner, I am 69 years old, trying to play without lifting my fingers off the keys seemed impossible and gave me a feeling of hopelessness about ever being able to play the piano. So thank you so much. Slowly my fingers have been staying closer to the keys as I progress so I kept thinking that this will be accomplished as time and experience and plenty of practicing will eventually happen.
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 .
Good call, Rick! Gotta point out these fallacies left they become self-perpetuating.
Thanks Dean!
Awesome video
Thank you!
Great player, wonderful exercise. Thank you friend!
You’re welcome!
👍👍🎹🎶👍🎹🎵👋
Thank you Samir!
Thanks for posting this. It’s really clearly explained and demonstrated & I’ll give it a go now. Appreciated!
Your welcome. Be patient with it. It takes time to get results.
Great practical lesson! And enjoyed the explanation of the overtone series! 🎹
Thank you!
Thank you for the detailed explanations on the fingering. I now understand why I don’t have to follow the exact fingering the editor provides. I’m using Suzuki piano school volume 5 as a reference.
You’re welcome. I’m glad the video is helping you.
Very useful lesson on dynamics and wrist relaxation
Thank you!
Thanks for these tips. I do believe rhey will help me do a better job learning!!
You’re welcome!
Unbelievable lesson as always!
Grazie Francesco. Mi piace molto la tua musica!
@@pianopowerlessons Grazie mille 🙏 maestro!
Beautiful progression! Can you suggest some songs where we can apply it?
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!
I remember having this as my first ever piano book (with my piano teacher) , and to be honest, looking more than ten years back does show me I've come a long way thanks to my piano teacher and the work done especially over the past 5 years. Thank you for this video.
You’re welcome!
Wow, you certainly know what you are talking about! I had never looked at swinging 8ths "under the microscope" - This was very helpful.
Thank you!
It's always been interesting to me that classical musicians very often feel the swing totally differently to jazz musicians. Get a classical pianist to play Fly me to the moon and get a jazz pianist to play exactly the same arrangement. The jazz player will cause the listeners to start to move / dance. I'm interested in hearing why this is. I have thought about this for years and would love to discuss this. I have more to say on this topic but would like to hear other people's views. (I am not suggesting that no classical musician can ever learn to swing like a jazz musician, but it is very rare. )
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.
Very useful information. Thank You🙂👍
You’re welcome.
Super lessons 🙂👍 thank You and greetings🙂
Thanks again!
new subscriber - keep it going
Thanks. Your band sounds great!
Is this Rick Procup from Bklyn NY Sold Kawai pianos about 35 years ago?
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.
Thanks for the free lesson! This is good knowledge.
You’re welcome. Glad you enjoyed it!
Thanks very much❤❤❤it helps me a lot
You’re welcome Trinsia!
Really interesting chord changes! Thank you! 🙏. Sounds like Bach used that somehow.
You’re welcome!
Best explanation ive seen! Learned something new!
Thank you Aviv!
Wow! Those connecting dominant sevens sounds very similar to lines a tenor saxophone player uses. So soothing🙏🏾.
Glad you enjoyed listening to them!
good lesson! A question I have is - is there a difference (in either theory or reality) in calling a chord a V of a II or just a VI of the original I ?
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
Very nice, thanks.
You’re welcome
Very nice and beautiful
Thank you!
Great! Very good video 📹 👍 👌 👏
Thank you again
Great lesson! 👍
Thank you again!
Wonderful piano sound! Great lesson. Thank you!
You’re welcome!
Subscribed! Good channel 👍 👏 👌
Thanks for your feedback!
Very good and beautiful 😍 🤩 👌 ❤️
Thank you. Much appreciated!
Well, one good lesson saves so many hours of filtering out useless information which is everywhere. Key concept explained perfectly with the best example possible....
Thank you Adrian. I really appreciate it!