Piano Method | A Workable Practical Guide to Piano Playing

Can I Overcome Difficult Injuries, and Still Play the Piano at Concert level?

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The short answer, in many cases is, Yes. I say this, as many pianists have suffered numerous injuries in the past, typically in the areas of tendonitis or muscular injuries.

However, with the right information, and methodical approach, you can overcome your limitations.4

I know this is a big statement to make, but let me explain it this way…

I was fortunate to have met Professor Lionel Bowman, before he passed away, and also have come in contact with Mr Wallace Tate, a man who studied the methods of Professor Bowman in great detail.

Mr Tate, over a period of several years. monitored the methods that Professor Bowman had created, and utilised his talent for translating complex moves into easy to follow steps, in a manual with fantastic illustration, and example material, to help both the student and teacher, maximise their comprehension, understanding and application of the Bowman playing method.

Mr Bowman experienced great difficulty in his late thirties as a concert pianist, in terms of repetitive bouts of tendonitis and other muscular problems. However, after being unable to play for some months, he took the time to learn the anatomy of the arm, hand, wrist and fingers, and really study, by process, trial and error, the methods that would not only allow him to play again, but to do so pain free. The results were nothing less than astonishing, to say the least.

Whilst the initial point was to be able to play the piano again, it turned out to be a blessing in disguise for all Professor Bowman's students as well, as they have reported massive improvement in their playing as well. Now, more people started to take note.

It was well into the process, that Professor Bowman then gave a master class at the University of Pretoria in South Africa, and had a DVD recording made of the class, which has become an essential element of The Magic Touch Course, presented here. It is through these methods, and subsequent teaching that Professor Bowman further refined his technique, and most people who have actively utilised his method have had substantial success, not to mention an improved tonal quality to their playing as well as less discomfort.

The method is based on the increase of strength and tone in the fingers. This is explained in this classical piano article.

What Are Some Of The Best Ways to Improve My Classical Piano Playing?

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Admittedly, this is a question that has way too many variables to answer fully. I will, however, concentrate on some common problems, being the way that a pianist approaches the keyboard, so that they may enhance their physique, and play with less injuries.

The injuries I am most referring to are cases of tendonitis, and muscular strain. It would be safe to say that most pianist have suffered from tendonitis at some stage, through their careers, and this is mostly due to the technique that they will be using to play the piano. In an ideal world, the pianist will always have their hands and fingers at exactly ninety degrees to the keyboard, but this is often not the case. The reasons include the fact there are multiple octaves, and the pianist is typically seated at one place on the piano stool.

To overcome these problems, at least to some degree, the pianist needs to be as relaxed as possible, particularly in the arms and hands, with the strength of the fingers delivering much of the power in the note playing. In addition, the hips need to be as relaxed and agile as possible, to facilitate easy movement of the torso, at least to a point, to adjust the body left or right, to allow greater area where the hands can be as close as possible to right angles to the keyboard. Whilst these techniques will aid any piano player, I can relate to specific experimentation and trial and error by the Late Professor Lionel Bowman, who came up with the Bowman method, after having to re learn a style to play the piano, to minimise the great tendonitis he suffered from, as well as other muscular problems.

As part of his method, the technique includes the right finger and hand positioning on the keyboard, often referred to as the 'cobra' position. This requires the hand to be placed with the wrist near the edge of the keyboard, and the fingers placed on the keys where they can also slide back, towards the pianist, and moving the wrist downward. Doing this, particularly during practice, will give the pianist the opportunity to test various pressure levels, of the fingers on the keys, and ultimately, to deliver a superior sound, through strengthened fingers. In addition to this playing method, it has also been suggested as an important part of practice, to 'play' on the lid of the piano, or other, hard, wooden surface. The reason for this being that you need greater strength, and force in your fingers to produce a sound from a piece of wood, than from the piano keys. In other words, if you can sound the piece from the wood, you can certainly do so from the keys, but not necessarily the other way around. This is a part of the Bowman method for strengthening the fingers.

I am deliberately emphasising the strength issue, as this small improvement will contribute wonders to a reduced strain on the rest of the body's muscular system in the hands and arms. As a general rule, when the strength is maximised in the fingers, and the hands and arms are relaxed, and well positioned, the strength can transfer to the keys, without building up as a tension in the arm and wrist, and aid the reduction, if not elimination of tendonitis. Like most things, it requires practice to master the skill. I recommend learning something completely new, as this will be with a new mind set, rather than trying first to unlearn a particular piece, which can be twice as hard. To prove the point, learn something new, applying these principles, and see the change for yourself.

As a side issue, some pianists have also participated in general gymnasium training, where they have found their improved physique has helped them move with more ease 'around' the piano, with less strain.

Are you able to store your piano performances for future listening? Have you been having trouble recording your piano performances , for the long term? Not only can you record your performances, but also gain an enhanced comfort and improvement in your playing, with less stress and injury. To learn more, see the therapeutic techniques that are possible for classical pianists.

The Importance of Scales and Arpeggios

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It is no secret that for any pianist, amateur or professional, it is imperative that they commence with a solid warm up prior to launching into a playing session. In fact, I prefer to think of the scales and arpeggios as part of the playing session. Why and how so?

The benefits of playing scales are all about an adequate warm up, and flexibility of the fingers, and hand. Whist I realise that for a beginner, the idea of incurring an injury at the piano may seem a far fetched idea, it is a definite reality for many people, who may not be adopting the right techniques to play the piano. However, far from wanting to put you off, I'd rather that it be an encouragement to simply follow the right techniques, and processes, to adequately tone your hand, arm, and finger muscles.

Playing the piano is not about just pushing the right keys in the right order. It is very much more than that, and certainly, a possibility to master as a skill, when approached the right way.

To illustrate this example, you can start by playing scales, and then, moving up to arpeggios.

However, you can also start improvising, and turning the scales in to musical composition, as you progress.

It is not an automatic thing, no, but certainly a way to move forward, when you need to.

As the Late Professor Lionel Bowman said, it is always a good idea to start to learn something new, with a new technique, rather than trying to play something you already know,as your mind has already programmed a certain method into your playing for a particular piece. However, what about if you decide to learn something completely new, following a new technique, like the Bowman method?

You will find that you develop greater strength in your fingers, as well as the ability to relax more in the hand and arm, thus allowing a greater degree of stress to remain out of the equation.

Tension and stress, mixed with the incorrect sitting posture can dramatically affect your likelyhood of having problems with tendonitis and also muscular aches in general.

However, getting back to my title earlier, the fact that you are playing scales and arpeggios is an important aspect of the warm up process.

I realise that it may take a combination of discipline, and sheer creativity in time, but you will certainly see the result with less injury over the curse of your piano playing career. For that alone, the issue is a fait accompli.

The Classical Piano method- known as the Magic Touch, is available here.

Note on the Exercises

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The exercises are based on what the hand is capable of doing with various passages, i.e. single notes, octaves and chords in their thousands of permutations, which make up what we call music. Once the learning processes are understood, the pianist will find that they are comparatively few, and that they can be adapted and applied to the learning of any passage regardless of style or character.

These basic techniques are learnt through the exercises which are to be practiced daily in the manner prescribed. They provide a therapeutic learning process and are elementary guidelines only to play more comfortably and with greater ease at speed. They also give one the means of cultivating various basic touches.

During the learning process some of the technical movements, muscular conditions, postures, and sounds, are extremely exaggerated, as a good deal of concentrated attention and effort is required. Eventually it will be sufficient to devote a few minutes only to the more essential and representative exercises before regular practice sessions.

The exercises were taught by Professor Bowman by rote: they were not written out for the student. Thus, attention focused on the physical means by which notes were played in order to produce a preconceived type, intensity and quality of sound. As a result, the approach was experimental, somewhat improvisational and rhythmically flexible. The student should keep this in mind when working the exercises as transcribed in this book.

Video

A DVD to illustrate the exercises and examples in this book is available as well, from

//www.ThePianoMagicTouch.com

It is normally included as part of the book download.

Application of Basic Principles- Double Octaves and Chords

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Double Octaves and Chords

If the student has a thorough working knowledge of the principles outlined in Chapter 1 of the Magic Touch, he should have no difficulty in applying them to the following extracts from the standard repertoire.

The first chapter is available as a complimentary download on the right hand side of this page. Please enter your email and name, and it will be on its way to you.

Reminders

♦ Double octave or chord passages should be learned first of all through the posture of the thumbs. Prepare and release firmness for each octave or chord. Release upward upon sound of black notes. Lower the wrists as far as they will go through sound of white notes. The follow through is essential. Slide hands and arms forwards to play the black notes, and back to play the white. Test wrists up and down often.

♦ Upon sound of every octave and chord, allow hands to rotate towards fifth fingers, and release notes other than those played by the fifth fingers which then support the hands and arms on the key bed. Test the lateral extension and contraction of the hands repeatedly. Employ a legato pedal.

♦ Double octave passages can be practiced as broken octaves, i.e. Thumbs alternate with fifth fingers.

Disjunct Movement

The fear of negotiating risky leaps in double octave passages may be overcome if, at first, one uses the practice of silent finger substitution. This, in effect, reduces the width of the interval and locks the hand into the movement. Later, when these practices have become automatic, one is able to ignore them and play with confidence at increasing speed. The group (a) exercises are devised as a kind of formula for simple interval practice. The derivation of the (b) group compound interval exercises is obvious.

The formulae may be practiced at gradually increasing pace, beginning on any notes, and the range of the (b) group can be extended. Although substitution is not possible beyond a moderate tempo, it will be found that, at speed, the technical advantages remain.