I don't think that "in the present" was meant so absolutely as to be only that millisecond of time of that note you are playing right now.
The attacks become enjoyable mainly when we learn how to minimize the tension involved in their production. This happens mainly when we can abstract our minds from the mechanical side of performing and we can focus on the sound production as the main concern of our playing.
I fundamentally disagree with this article. The mechanics of finger movement should be immersed in the subconscious. Present, future: these aspects are irrelevant. One would not fixate on the next foot and limb movement, or on the movement(s) currently being made, in order to walk. One simply does it, because it has become ingrained and natural; the same thing applies to playing the piano. Once that state is acquired, the pianist can then focus on the more important process of being a musician.
Andrew is talking sense, as usual. I have found this business of trying to force all aspects of playing music to the conscious level to be not only obviously impossible but also destructive of both technique and idea flow in improvisation.
I fundamentally disagree with this article. The mechanics of finger movement should be immersed in the subconscious. Present, future: these aspects are irrelevant. One would not fixate on the next foot and limb movement, or on the movement(s) currently being made, in order to walk. One simply does it, because it has become ingrained and natural; the same thing applies to playing the piano. Once that state is acquired, the pianist can then focus on the more important process of being a musician. Sorry dogperson btw
Two points;1. On dogperson's point, I also find it kind of annoying when I see a topic in the forum that sounds interesting only to have to click over to another site to read it. I know other forums that would ban you for this sort of activity. Also, if you are doing it for SEO purposes I don't know how much weight links in forums carry with the search engines. I noticed you are a local business. If you want better rankings there are more effective ways to do it. Send me a PM if you want to know more.2. About the article itself; I think the idea about not focusing on what you are about to play and instead focusing on what you are playing in the moment is interesting but has a couple of fundamental flaws. Firstly, we are always in the past since it takes time for sensory stimuli to reach and be processed in our brains, and secondly, it takes time to reach and play the next key or chord, so how could you hope to play in time at all without thinking slightly ahead of the music?
I don't think that "in the present" was meant so absolutely as to be only that millisecond of time of that note you are playing right now. I would only say that the concept is not revolutionary, and it is not the concept only of this one person. I've been taught about this by two teachers myself, and I'm just an ordinary adult student who started lessons late in life. The way I learned it the first time is that you are actually pendling between the immediate present, the immediate past, and the immediate future. What note you have come from to what note you are arriving and, and what note you are about to come to. For the one you are about to go to, how do you picture it, and once you arrive, to get it as you picture, and then is it as you pictured. The is the pendle. And there is also a kind of time-stretch with it.If I ran into two teachers teaching this, then there must be hundreds at least in the world.
If this was meant for forcing all aspects to a conscious level, then I agree.In general, for teaching the whole thing is impractical. It was probably a fun demo for experienced pianists to watch. But nothing to be implemented in lessons.In general, if I lived in the vicinity and was looking to take lessons or register my children, the articles being featured would push me away - they are cerebral and some make straightforward things look complicated. At best I'd try for a trial lesson with one of the teachers and see where there might be a practical human being who can teach, and just ignore the writings coming out of the school.
We should have planned everything so well in advance that the macro performatic structures we created can always serve as the perfect framing for the incidental imprumptu. I hope this claryfies my point
… "macro performatic structures", "perfect framing for the incidental imprumptu"? Well now I'm more confused than ever.I'm genuinely not having a go at you but I really hope you don't talk to your students like that.
Ignorance is never a strength but always a weakness. And now who is being repetitive and spammy
Wkmt, this is off topic but it's been bugging me for a while. You have a couple of teacher talks up on Youtube, and you're teaching on the Kawai CA97 - same piano that I have. Why on earth do you have speakers on top? The Kawai has excellent sound with well placed speakers inside, as well as the sound board (I assume you have the 97, not the 67), which would do more than fill up a room, as well as being much more realistic than other dp's that don't have the soundboard. So why the large external speakers?