You can't have the latter without the former.
It is more important to have a rich feeling/mood rather than proper technique. From my teaching experience I find it harder to instill musicality in students than technical capability. If the student does not "feel" or "hear" the music it is a real uphill battle. Technical ability is easier to practice.
I guess at least one persistent poster here will be delighted to read that. Unfortunately, those "rich" feelings and moods sound like crap without proper technique for their execution (to all but the self-deluded performer, anyway).It's absurd to imagine there's disagreement about this (especially from a teacher) or that it's considered debatable.
I guess I should clarify somewhat. When someone understand a passage musically but it is not mastered technically, the technique can be acquired through measurable practice/discipline. But if the person can technically play a passage, that is with memory and comfortable fingering, this does not always make them be able to produce "feeling" with their playing even with a lot of hard work.
This confirms that technique is more important. You can have all the musical feeling of the world, but without technique you wont get anywhere of expressing that. So you FIRST need technique, but only Secondly need musical feeling to do something with the technique.
What he's saying is that technique is useless without musical feeling (yes they both require eachother) but if you have the musical feeling you are much closer to being a great pianist than if you lack musicality and have technique. Do you agree that technique is easier to acquire? Then feeling should have a higher priority. I.e. is it easier to get two peas or a pot? If it's easier to get two peas then you would rather have a pot then two peas.
I.e. is it easier to get two peas or a pot? If it's easier to get two peas then you would rather have a pot then two peas.
? Are you talking about two peas in a pod? I don't get it.
This whole discussion takes on a different light. "musical feeling" is innate. Technique is acquired. Therefore, it's easier to teach technique then "musical feeling", I guess. But then why would one want to learn technique if one didn't have "musical feeling"? And "musical feeling" can also condition your technique. The way I look at it, they go hand in hand. You absolutely have to have both.
I guess I should clarify somewhat. When someone understand a passage musically but it is not mastered technically, the technique can be acquired through measurable practice/discipline. But if the person can technically play a passage, that is with memory and comfortable fingering, this does not always make them be able to produce "feeling" with their playing even with a lot of hard work. I prefer to work with someone who is stronger musically rather than technically, it is better than working with someone who is technically strong but does not understand the language of the music. Musical maturity cannot be really taught, it comes from experience, talented children for instance can play technically wonderfully but they play with no feeling, it is robotic. This feeling is hard to teach, if you naturally have it you have more of a head start than someone technically strong imo.However there is no point being musically strong and base it on a technique which is not producing your desired sound with physical effortlessness. If we are busy with inefficient technique then the enjoyment to play a piece can be more of a physical workout than it really should be which takes away from our musical playing. BUt if you play musically all the time you can naturally find the correct technique, this is not so if you are technically strong, if you can technically play a passage 100% this does not always mean that you will be able to capture the "feeling" of the passage. But knowing the "feeling" of a piece and being able to produce it with bad technique however will cause more of an automated improvement in technique over time, however with good technique you may have to really work hard to find the musical voice if you do not understand it.
I also remember what Chopin said: Each fingers is assigned a particular part. People do not notice uneveness of a scale when played very fast but they do notice when a finger does not produce a desired sound the piece asks for.
Wrong, wrong, and absolutely wrong about having to have technique to express oneself even VERY effectively. lostinidlewonder; you do not have to clarify ANYTHING.I've been teaching MYSELF classical for only a few years. I probably don't have ANY even decent technique- if I have any AT ALL. Yet, when I give a little recital; I make the ladies cry on Fur Elise EVERY SINGLE TIME. That's because I PRACTICE THAT one with total feeling. (And last time I even made a male (scientist) wet under the eyes, I noticed.) Once again, I highly doubt I have any technique at all. And even after only one year of teaching myself- my brother went to great lengths to say how I play with such FEELING and MOOD- and that THAT'S what sets a decent and a great pianist apart....... No jive. Oh, and by the way; I consider this brother to be a musical genius for the past 23 YEARS.Gyzzzmo says that "technique is more important." Oh, yeah?? Are any of you going to tell the seemly countless pop and rock stars that 'technique is more important"?? Or that 'you must have technique before you can play with effective feeling'? Are you (anyone? ) going to tell these extremely successful musicians that have made millions and millions off of musical feeling that "you have to have technique first"? Anyone want to try to tell Stevie Nicks or Neil Diamond any of that??? Well? Weeeeelllllllll???The same goes for probably almost ANY instrument- guitar, as well as with acting. In my experience and with whoa so many others. Wel- WLLLLLLLL???
Once again, I highly doubt I have any technique at all.
There are various reasons that a performance could reduce an audience to tears.
it`s only music for entertainment