Haha... I just found a youtube on this.
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What is the point in blasting through these things so far outside of any musical context? I could understand practising them slower and with extreme legato. I could understand accenting every four notes, say, and concentrating on non accents on every other notes. I could understand pacing a crescendo or diminuendo (which could range from a slight one, to the wild explosions of an artist like Cziffra). But what is the point is blasting through that way, with every note the same volume? It trains nothing but movement- and not a movement that has any obvious musical context. Even for Prokofiev or other twentieth composers there would be more benefit it involved the accentuation style of practise. At least it would train something other than churning notes at high speeds alone. I'm actually a big believer in the value of exercises, but why disconnect so entirely from issues of sound? I cannot see the value in ultra-even practise at such high speeds. It makes sense when done slowly as an exercise in listening. But what purpose is there in removing all music from rapid reflex actions?
I don't think you are aware of what it takes to develop a true finger dexterity, light touch, great coordination between hands, stamina etc. You sound like you have never been practicing double note exercises and achieving comparable speed.
Haha... This sounds bad... So.. We can I buy a copy of those books? Haha.https://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=%22Russian+Technical+Regimen%22+by+Alexander+Peskanov&x=0&y=0I see a few in here for about $6-7 a book. I'm looking for the whole set though. I want a full listing.
It's only six books?https://peskanov.com/Merchant5/rtr.phpAre these at a beginning level or more like Czerny?
It is very rare, when you are able to observe a concert pianist, virtuoso warming up. The Russian Technical Regimen and my Piano Olympics program present an opportunity to become a virtuoso starting at Beginner level. In my videos "In Search of Sound" I demonstrate how to practice in various tempos and instruct on how to convert weight onto sound.I don't think you are aware of what it takes to develop a true finger dexterity, light touch, great coordination between hands, stamina etc. You sound like you have never been practicing double note exercises and achieving comparable speed.
Have you ever seen the film of Cziffra warming up? I didn't hear him punching any notes out without shape or accentuation. What is the use of all of these things if it trains the reflexes to do it without any sense of music whatsoever? Aside from the Schumann toccata, how often do you really need rapid staccato double notes to be punched out coldly?The thing that strikes me is that to blast an exercise like that out, you need to have acquired the technique in the first place. Otherwise it would just be causing injury and stiffness. Also, unless the technique is already there, most pianists would just play with sloppiness. Working on a few scales at a time (with quality of movement as well as issues of legato/tone etc.) would be far more valuable. Once that technique is in place well enough to be capable of that, what is the point in throwing notes around without engaging any musical thought? It turns it into 100% pointless movement- that is churned out purely for the sake of it and without any productive brain activity. If you can already do it, why do something quite so spectacularly unchallenging as simply playing through the same notes in the same way for the 100th time- instead of considering musical issues that would actually make it more technically challenging and more applicable to music? Why value the next notch up on the metronome over the idea of adding some musical challenges?
I believe, you are missing the point. I am practicing my regimen, to meet the challenges of the demanding piano repertoire. Two weeks ago, I performed Liszt's Piano Concerto No. 1 on tour in Central America and was practicing my Regimen and Czerny every day for about an hour before anything else. It felt great!
Are all the technical things in the books 1-6? Is it geared toward beginner, intermediate, advanced?
Are the six books availlable as one bound volume, or is each one its own separate book?
While studying at Juilliard School, I realized how important is to translate some of the "secrets" of Russian Piano School. I wanted to document my knowledge and experience studying with great Russian teachers and share it with the rest of the world. This is what inspired me to write my books. It's been 20 years since my Regimen was published. The legacy of the Russian Piano School will live on. I feel very privileged to be a part of it!
While studying at Juilliard School, I realized how important is to translate some of the "secrets" of Russian Piano School.
Hello Mr PeskanovHope you're still following this thread. I actually have your Russian Technical Regimen. I am trying to work through them and have started with single-note scales. I refer to pages 8 and 9 of the corresponding manual, to the transition from F Major to D Minor. I see that the last note of the transition, the E (played with the second finger on the right hand) is a seventh below the first of the D Minor, the D (played with the thumb on the right hand). That looks rather awkward. Are you supposed to jump from the E to the D, or are you supposed to play the D Minor scale an octave lower than written on the score?Thanks.
I find it pretty amusing--you got your degree from Juilliard school, but then claim that you came from and know "secrets" (whatever they are) of Russian School. At the same time your actual playing has none of that "Russian School" qualities. Hope your book sales go well--indeed, the hardships of our times makes everyone to conduct the business to the best of the owner's abilities. Best, M
I'm sure we'll soon see a detailed response from Marik.
Topic: Alexander Peskanov: The Russian Technical Regimen 