Technical regimes/exercises

[pla635]

Does anyone know which of the famous pianists/teachers have published their technical regimes/exercises?  I know of a few but I am specifically wondering about the increased independence of the 4th and 5th fingers.  Is there a system or technical philosophy that can help these fingers perform a sustained trill in a convincing and easy way?  Any specific exercises that target this particular skill?  I know that it is difficult, and usually not necessary as not too many pieces call for this, but I want to improve it nonetheless. 

Any advice would be appreciated!

[frank_48]

liszt wrote a book of technical excersises, covering everything that helped him gained his virtousity.

https://www.sheetmusicplus.com/store/smp_detail.html?item=3502970&cart=3432078443725878&cm_re=289.1.4-_-Results+Item-_-Image+Thumbnail

[j.s. bach the 534th]

anything that I don't have to buy?

[frank_48]

i found the book online that you can just download.

[pianisten1989]

Czerny wrote like a billion exercises. Some of them have to contain exercises for 4th and 5th finger.

[ramseytheii]

Practice 4-5 trills with palm up, fingers touching the bottom of the keyboard.

Walter Ramsey

[j.s. bach the 534th]

trills are something I need practice with, definitely

[birba]

Practice 4-5 trills with palm up, fingers touching the bottom of the keyboard.

Walter Ramsey

Now THAT is something I've never heard of!  Interesting.  It IS easier with the plam up! 

[ramseytheii]

There are certain types of passages which tend to cause hand or finger-related tension (as opposed to tension in the elbow, upper arms, whatever).  Usually they are contrapuntal in nature (so the use of bigger joints is excluded) or just fast passages of close, consecutive notes (as opposed to wide-spread arpeggios, or more disjointed figurations).  A 4-5 trill fits into this because of the closeness of the notes.

All these passages can be greatly relieved of tension, by practicing them with the palm facing up.  This is actually the true technique.  Martha Argerich once said, and I paraphrase, "You should play as if your fingers were going up into the keys." 

For passages that are like I described in the parenthesis above, passages with disjointed figurations, or widespread arpeggios, or leaping chords, or whatever, it is better to practice with larger joints in mind.  Turning your hand upside down, doesn't help for that, because you have to practice with joints like the elbow going in their natural direction (clockwise and counter-clockwise).

Walter Ramsey