Discuss technical aspects of piano playing and recording.

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Postby Terez » Fri Oct 19, 2007 5:24 am

nathanscoleman wrote:Hey, I like boob grazing as much as the next guy! :lol:

My problem is the angle it forces my arm into ... puts tension on elbow, torques wrist ... not a problem for short forays across, but for extended periods ... not nice.

Right...and that's my problem with this etude. Even though it's not arm-crossing, it moves back and forth quickly over the whole length of the keyboard, both hands moving parallel to each other. I couldn't make it through the first section sitting as close as I usually do. I feel like it causes extra strain on my back and neck, too, because I'm short. My keyboard in my room is set a good few inches higher than the pianos over at the school, and I can get comfortable there, but it's awkward going from that to one of the school pianos.

So, sitting as far back as I do, I'm sort of hunched over the keyboard, so it's like I have to move farther to cover five octaves than I would at normal position. Back and forth, back and matter how well I can stay relaxed through it, it still puts strain on a lot of things.
"Z Czernym poznałem się na panie brat—na dwa fortepiana często z nim u niego grywałem. Dobry człowiek, ale nic więcej..." - Fryderyk Chopin

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Helpful website

Postby Doxy » Wed Oct 24, 2007 9:13 am

Get in touch with and visit
as he is a top hand specialist and very helpful.

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Postby PJF » Wed Oct 24, 2007 4:05 pm

That's a useful link, Doxy, thanks.

If I don't at least walk 2 or 3 miles every other day, my technique suffers. Regular low-impact exercise and a balanced diet are crucial, esp. when a pianist is attempting really difficult repertoire.

Of course, talk to your doctor before starting any exercise routine. (My lawyer said I should say that)

I'm starting to feel like an after-school special... :lol:

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Postby nathanscoleman » Thu Oct 25, 2007 5:09 pm

I think you should lift weights ... but only with the fourth and fifth fingers! :lol:

Mendelssohn's 53-3?? Wow, that's not beginner stuff ... have fun! And upload for us when you get it!
the one, the only ... Nathan Coleman
"You see, my piano is for me what his ship is to a sailor; more indeed: it is my very self, my mother tongue, my life." - Franz Liszt


Postby Anonymous » Thu Oct 25, 2007 6:23 pm

Wow indeed.

My old Augener's edition (ed Franklin Taylor 1909) gives a metronome marking of dotted crotchet (quarter note) at 104 which I think is editorial. It seems a sensible speed though IMO, and shouldn't really be causing any major fatigue problems with the right hand. The left hand is another matter.

Something you might try - in the LH figure Mendelssohn very generously gives you a whole quaver (eighth note) at the end of each bar up until the pattern changes at bar 24 or whatever. At the suggested tempo, that gives you just enough time to flex (bend) the fingers while you're moving the hand down to the first note of the next bar. Although this does involve an extra couple of movements it might be less tiring than playing with the fingers constantly extended if that's what you've been doing.

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Postby richtera » Sat Mar 31, 2012 12:43 pm

What is a good weight lifting plan for a woman trying to lose weight? I'm a 23 year old female wanting to find an effective weight lifting plan that will complement a 6 day a week running plan.
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Last edited by richtera on Wed Apr 04, 2012 10:53 am, edited 1 time in total.

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Postby techneut » Sat Mar 31, 2012 1:38 pm

richtera wrote:What is a good weight lifting plan for a woman trying to lose weight? I'm a 23 year old female wanting to find an effective weight lifting plan that will complement a 6 day a week running plan.

Huh... why on earth are you asking this in a piano forum !?????
Nothing is always absolutely so -- Sturgeon's law
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Postby Rachfan » Sun Oct 11, 2015 2:58 am

Regarding "Arms Hurt!!!":

Should you sit high on the bench like Rubinstein? No. Should you sit low on the bench like Horowitz? No.

You see, there must be consideration to "piano ergonomics". Basically, the pianist should sit only on the front half of the bench. If it is an artist bench, one would do well adjusting the height such that the forearms are level and parallel to the floor. Why is this? Because sitting higher means a down-flex in the wrists which is unnatural. Similarly, sitting lower necessitates an up-flex in the wrists which is also unnatural. The ideal of arms parallel to the floor is that the extended forearm is flat, the relaxed wrist is as flat, and the back of the hand is flat--all three in a straight line. That is to say, virtually no up-flexing and no down-flexing of the wrists. Not paying attention to ergonomics can invite pain and the danger of carpal tunnel syndrome. I'm suggesting that one beware an unnecessary risk of a potential injury.

"Interpreting music means exploring the promise of the potential of possibilities." David April

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