Was: Too Much Wrist Action? (Now I'm changing the subject)

[andhow04]

In the thread that i ripped this off from, bernhard wrote:
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The movements that should make the basis of one’s technique are:

1.   shifting of the arm to position the fingers (so that the fingers to not “reach for the keys).

2.   Rotation of the forearm to lift the fingers (instead of the “lifting fingers high” so prized by Hanon and their supporters)

3.   Back and forwards movements of the arm to negotiate the black keys and bringing the thumb and little finger in position. (instead of twisting the hand on the horizontal plane to accommodate the short fingers).

4.   Forearm and hand moving as a single unit to transfer weight to the keys (that is, bracing the wrist – instead of letting the wrist collapse or lifting the wrist exaggeratedly).

99.9% of the passages in music can be negotiated by using these movements and their co-ordination. This will guarantee effortlessness in playing and absence of injuries.
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i read in another great post how to use these movements in conjunctyion to make a fast pearly scale. that was really helpful. I would ilke bernhard or someone else to possibly explain how these movements combine to assist in "divded hand" passages, in particular difficult bach fugues from the toccatas such as D major or G minor.
in the counter subject of the g minor, which appears first in the left hand (upwardly ascending triplets) its easy to apply the motions. then when the subject and counter subject is combined into one hand it's not as clear to me how these help, esp. that of rotation. Any advice?

thanks so much
andrew howzer
 

[i_m_robot]

someone should  make topics like these sticky

or make a whole subsection so people dont make a new topic everytime they join the forum

someone