Selen Dar

Muscle-Building Workout and Diet


Hello everyone, welcome back, today’s
topics are playing with dynamics and the staccato articulations. And practicing all
technique exercises with extreme dynamics with legato and staccato is the
best warm-ups for your finger muscles as well as the best exercise for
strengthening finger muscles and finger joints. When you practice with
fortissimo dynamics you train finger muscles over here, and when you practice
with pianissimo dynamics you train finger joints over here. So it’s really
absolutely another level of sensations while playing, it’s like you playing and
you getting the sense of enjoyment just from the sensations in your muscles. It
just feels so good, it’s like you are playing and it’s not your hands, it’s the hands
of Kissin or Cziffra, you know like big spiders on the keyboard. For
me it’s really the best warm up ever. Okay so let’s go to dynamics, we’re gonna
practice scales, arpeggios, Hanon exercises, octaves and chords with separate hands and then both hands. Now when you play with dynamics you need to play slowly, just
keep that in mind. And if you feel you speed up a little bit come back to a
very slow tempo. All right, so try to imagine both hands in timbre
and good resonated fortissimo, with movement, with glissando in between
notes. And just a reminder not to imagine forte harsh of flat, when you’re too
close to it, because it will affect sensations in your muscle
and you will feel strained in your muscles. The next step is playing with
correct hand movements, imagination, intonation and weight. Now here I need
to say couple of words about lifting up your fingers – when you’re gonna lift up
your fingers… let’s make it softer.. okay so when you’re gonna lift up your fingers because you’re not gonna use it in
isolated way you’re not gonna hurt your wrist over here, so this is how it looks
like. Let me show you with the left hand, it’s the best way. Okay I will show it in the example
of the left hand. So, in the roles here when your wrist is on the top and is about to go down, this is in that loop, this is where you lift your
finger, so it’s like you’re gonna lift your fingers with the amplitude of
the hand, when the hand is going up your finger is gonna go up. You see, I’m trying to
show in the slow motion, I’m making a “roll” and I’m lifting the finger, making a
“roll” and I’m lifting the finger, making the “roll” and lifting the finger. And then you go down – “roll” and lifting a finger. It’s very important to get it. But I will play more
later and you will copy me, and when you have for example “swings” for example in this Hanon exercise remember that we are playing
the note right in the middle of the bottom of that swing. So when you…let’s say you play the note, and the when again your wrist is on the highest point to go down
again this is where you lift your finger. So in the right hand – you lift finger,
here is going up you lift finger, here is going up you lift finger. the wrist is going up you lift the finger, it looks a little bit artificial in the beginning, but you will see it all will be more natural when you
play with intonation and weight. Okay I hope that is clear. So, with the scales – you can play with separate hands first, imagine first couple of notes in
timbre on fortissimo with movement and glissando, gather weight, bring the
hand to the keyboard from the elbow, play the note with correct hand movement,
then keep imagining glissando and the next note with movement while intonating with weight on another layer, and play
with weight on another layer and play the note was correct hand and finger movement. So, it’s the same principle as usual, let’s go. Elbow and torso movements are still the same. So let’s do the same with arpeggios, 2
steps – imagine both hands in timbre on fortissimo with movement and glissando, all the way up and down. Now play with hand movements, imagination, intonation
and weight. Let’s do separate hands again. Now Hanon exercise – imagine both hands. Play the right hand. Left hand, let me show you down. Another Hanon exercise – imagine first
both hands. Octaves. We are gonna imagine both hands. And let’s finish fortissimo with chords.
Both hands imagine, and now when you play you can play with a pedal or without, it’s up to you. Finish the whole line till C major. Now let’s go to piano dynamics. Again
we’re gonna make the same two steps – imagining both hands in timbre and very
soft, translucent pianissimo as piano as possible with movement and glissando.
Again don’t make the sound smaller, it will affect your muscle
sensations making them more tense, I hope you learned everything in the preparatory exercise so I don’t need to explain everything. So take time and imagine both hands in scales. And the second step playing again with correct hand
movements, imagination, intonation and weight. Now, don’t forget to still use weight while playing pianissimo, and make the same big “rolls and swings” when you’re gonna
play in slow tempo, lifting up your fingers. So dynamics does not change the
movement, tempo time change the movement, not dynamics. Okay, so let’s go, the same
order – you imagine first couple of notes and timbre, pianissimo, with movement and glissando. And you gather weight,
you bring your hands of the keyboard from the elbow, play the notes with correct movements, keep imagining imagining glissando and the next note with movement while intonating with weight. And then play with correct hand movement. My voice also becomes softer when I imagine soft. So let’s go, again I suggest to
start with separate hands. You see the movements are the same, like I
was playing fortissimo. But it’s just softer. And I swear I didn’t change their volume
after fortissimo, but I can make maybe even softer, let me see. Completely
pianissimo, dissolving. And this is our fortissimo. Just to show you. So always try to
imagine the play even softer. Both hands. Don’t speed up. Let’s do the same with the
rest of the exercises. I repeat – imagine both hands, play with separate
hands and then with both hands. Hanon exercise – imagine both hands. It will take a lot of time. Play with separate hands. Finish on your own. Next Hanon exercise – imagine both hands in timbre and pianissimo dynamics. Play with separate hands. All right, let’s go to octaves – imagine
both hands 4 notes in timbre and pianissimo dynamics. Play with separate
hands and both hands. And lastly chords. Imagine 8 notes both
hands together in timbre on pianissimo dynamics with movement and glissando. Play with separate hands This is the best exercise for these parts. And let’s go to staccato articulations.
So here we need to make three steps – first we’re gonna sing out loud, then I’m
gonna sing out loud and play, and then we’re gonna play with singing internally.
So let’s remind ourselves – staccato – first half of a interval
we’re going with good resistance, like we are about to sing with legato, and the next half we extremely speed up. And gather weight before singing. And if we go down. okay now let’s sing and play. I suggest to
use maybe separate hands. Again the movements are absolutely the
same that we did before, and don’t think about imagination, so just
singing and movements. Now let’s go to the third step, so
now we’re gonna play with correct hand movements with imagination,
meaning imagining timbre and different dynamics with movement and glissando, and with intonation and weight, here we’re gonna intonate everything with staccato
articulation. If you practice the preparatory exercises well enough
hopefully by now you know that you need to keep your hand loose on the keyboard,
without jumping this way. There is one thing we should remember that…I don’t know if I said that in the preparatory exercise… listen um when
you’re gonna imagine let’s say you need to imagine notes fortissimo, pianissimo and intonate staccato. Even when you need to play staccato or tenuto or
accent, any non legato touch you’re still imagining legato
in your mind. You don’t… you don’t imagine this way, you imagine
still legato. So that’s an important note.
All right, let’s go with separate hands again, imagine first couple of notes in
timbre and fortissimo dynamics with movement and glissando, then you gather weight, bring the hand to the keyboard from the elbow, play the note with correct hand
movement, now keep imagining glissando and the next note with movement while
intonating with weight and staccato and playing the note with correct hand and
finger movement again, so that’s the order. let’s go. This has double effect – for the strengthening of your muscles
fortissimo and staccato is just an explosion for your muscles, but
a good one. Let’s do the left hand. And now let’s try to play staccato and pianissimo. So again I’m gonna imagine notes in timbre
and pianissimo dynamics with movement and glissando, and play
intonating with staccato. This is more for this joint over here. Actually it could be softer. All the movements are the same. okay, scales are done, let’s go to arpeggios. Again we are gonna sing out loud, sing out
loud and play, and play with fortissimo and pianissimo. Let’s sing. Sing out loud and play, let’s play with both hands right away. Maybe it’s too much, let’s go with
separate hands for you. okay, the last step – let’s imagine… we’re
gonna play with correct hands movements, imagination and intonation and weight, staccato. We are gonna imagine in fortissimo dynamics, right hand, let’s go. And let’s imagine and play
with pianissimo dynamics. Now we’re going to a Hanon exercise. Sing. Sing out loud and play with both hands. And play with correct hand movement,
imagination (timbre and dynamics) and intonation with weight (staccato). Imagining with fortissimo dynamics first, separate hands and both hands. Now imagine pianissimo, play with separate hands. Let’s try even softer. Let’s go to the next Hanon exercise. Sing first. Sing out loud and play with both hands. And playing with hand movements,
imagination, intonation, imagine fortissimo, play with separate hands. Both hands. Let’s go…god, my fingertips
and in pain already… let’s go down, I mean you play the
whole exercise, but I want to show you down. separate hands and then both hands. Octaves. Let’s sing out loud, basically the same scale. Sing out loud and play, let’s try with both hands. The last step – playing with hand movements, imagination, staccato intonation. Let’s imagine fortissimo and play with separate hands. Imagine pianissimo, separate
hands, then both hands. oh this is really for your thumb The last one – chords. Sing out loud. Sing out loud and play with both hands. Now we’re going to play with correct
hand movements, imagination (fortissimo & pianissimo) and intonation and weight (staccato articulations). Imagine fortissimo and play with separate and both hands. Again finish the whole scale. And pianissimo. All right, that will be it for today, I’ll
see you in my next lesson, bye.

4 thoughts on “Level 1 • Lesson 3 • Piano technique exercises • A good way to warm up & strengthen finger muscles

  1. Very practical and useful video for technique. Are you Russian school, vs. German school trained? I would appreciate any comments you would have on how these two schools view exercises differently.

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