Hi Lenka, sorry about that unpleasantness. Language shouldnt be a barrier, your english is very good and these are not easy concepts to explain in a foreign language...keep working at it. I would still like to know How you propose to develop the spatial element. I can see that this may be an area not well covered by traditional methods BUT Im intrigued by your constant insistance that all previous educators have no clue as to how to develop these skills. I would be carefull to use such sweeping statements Lenka - for your own sake because people are less likely to take you seriously. I think we would agree that there have been many great educators in the history of piano teaching and indeed many great Russians. Neuhaus being one, who clearly takes a very different stance from your own. So please if you could talk more about how you devlop the skills and less about how other teachers cant this would be more profitable for the general forum users. Im sure you will appreciate what I am saying Lenka. We are interested in what you have to say but be aware that the English you are ussing is coming across quite strongly as if everyone else is wrong and only your method can teach children to play the piano...This could come across as being a bit arrogent on a forum where a huge percentage of users are piano educators. 
Dear pianowelsh,
Thank you for your understanding! It is really very difficult to explain the research in words. I would try my best, though.
Neuhaus' school was one of the best piano teaching system in the world. We were really honored to get endorsement from Yuri Rozum – the follower of this school – to Soft Mozart. I was invited to present the program in Moscow last summer and was given 2 hours for presentation. There were Yuri, another Yuri (Bogdanov) – also a concert pianist, composer and conductor and a lady – a principal of Yuri Rozum's music school in Moscow. They kept me for 7 hours and I almost missed my plain to St. Petersburg, because they have so many questions. It was very funny to watch these world-renowned artists standing on their knees and playing 'Hot Cross Buns' on the vertical Elementary presentation. I noticed, that Rozum never tried to turn his neck in order to see Grand Staff the way he used to. It said a lot to me! I understood, that the most talented people always ready to learn new things.
Any way, I know, that a lot of my statements sound arrogant. But it is an abyss between people, who tried our device and people who read about it. It is like to explain someone in 19th century, what is computer.
We developed a computer device, which helped us to understand the nature of music perception and building skills in precise numbers. Before I started to work with the device, I was like anybody else. I believed in intuition and artistic ways of teaching music and I had no clue, how it is all happening, because never had control over the situation. I had talented students and students below average. I tried my best to teach all of them. After developing SM and working with it for a while I went to the deepest roots of music learning and understood much more about it.
First of all, SM is extremely interactive. It based on a very advanced mathematical formula, which calculates input of every player individually and give him/her individual unique ways of development. The numbers and research helped me to get the entire picture of what is exactly happening, when person is studding music. I am sure there are many educators in the world who can teach music and piano better then I do. But unfortunately none of them was ever equipped with the tools and possibilities, that I used in our research.
As you know, we broke learning process in small sections. By using visual support and support of eye focus we separated tasks of reading and coordination development. With current technology we used light keys of keyboards, touch sensitive – and not, digital pianos with weighted keys and acoustic pianos. We had an opportunity to use all the perceptions in learning music – visual, audio, muscular, speech memory and voice. We could exclude some of the perceptions, we taugh with visual support and without. We use Alphabetic and Solfeggio names for learning process and we were recording every step in the process.
Gentle piano – program, which teaches to read, play and memorize music, has two measurements: amount of correct notes and time. Time presented like in chess – if you hit all the keys in exact time, it should be zero. This device let me not to ASSUME but know, what exactly happening in the learning process. Apparently, it is not as unpredictable as many think.
When I started to work with device I know the answers to many questions and try to explain the results in my articles. The questions about cramps, technique development, music memory, music mind and other are practically answered. This is what differ us from the rest of the world. Only the problem here: how to make this research available for the rest of people?