piano teaching method

Read the Expertise of  Prof. Hörmann about “Relativitätsformel
des Klavierspiels”

and about the concept “Faculty for Piano Research”

Testimonial by Kei Oide from Japan (holding a piano diploma and being medical doctor):
OideKen-PianoDoc-amFluegel
“I was very impressed by your lesson because your approach to the practice was completely new for me.You taught me how to solve technical problems in various ways.” (Liszt-Ballade)

Relativity Formula of Piano Playing

On the basis of common music knowledge and listening experiences
a pianist has to do a lot of mind-work and digesting lots of music sheets with
informations before a complex movement can be accomplished in the performance of
a piano piece. Thus performing his mind image will be updated in a
regulatory circle
.

Mind Work can be fine-tuned with the natural law of the brain.
The programming can be made effective by a time-saving order of apprehension of
data and by involving as many senses as possible in the programming process.
This is done by naming each aspect in its own training step aloud – thus
including optimal self-control, conscience and respiration.

The learning steps seem to be trivial one by one. Seeing that “conventional”
piano teaching sticks to a few of these points the entity of all steps is a
complex system guaranteeing professionality. It gives more security during
performance and is similar to neuro-linguistic programming. Especially the bes
musician’s secret, the rhythmis structure, helps a lot to be a professional
musician.

I) The music programming scheme works like this:

  1. note location

(a) piano fingering. See published article about piano
fingering by Wolfgang Ellenberger and his
fingering edition

(b) Note Name

2) Note – TIME
Rhythmic-Structure (not just a
one-two-three but SEVERAL levels!)

THE MOST IMPORTANT SECRET FOR MUSICIANS!

3) Note – Distcances: Articulation
is defined precisely with exact definition legato-portato-staccato and
special exercises

4) Note-Intensity: “Absolute Dynamic Scale”  

pp  p  mp mf  f ff  with special exercises
(try to play one same note in these 6 graduations at the FIRST ATTEMPT – LOL)

5) Note-Envelope / Echo:

even pedalling is programmed precisely

II) Body work – 3 D movement
analysis

Since Philipp Emanuel Bach (“don´t stick to the keys too much”)
there have been several approaches to get full control over all parts of the
body. Kalkbrenner let his students play gliding the wrist over the back of the
chair to focus on the finger movement, Breithaupt, Leschetitzky and Tobias
Matthay had larger descriptions of piano technique. Bernhard Böttner promoted a
“universal technique – but many SPEAK about holistic body movement but few
really DO IT with integration of all joints from hip movement to finger mvoement.

In plus it is necessary to be master of certain natural laws as the “law of
momentum” which requires profound knowledge of the piano action which can be
studied with a
piano action model made by RENNER. Target of all efforts has to be to create and FEEL a holistic
flow of energy from the body center to the periphery. Most teaching tries to
come from the periphery to the center which is rather ineffective.

Such work can be controlled with video-feed-back and certain
special feed-back settings also using player systems.

Many artists have a splendid artistic vision and can somehow
transfer it to the audience without real technical realisation of it.

Body work becomes real relaxed by practising three elementary exercises in each of the three
levels standing vertical to each other. Each level contains a “movement atom”
which is a circular movement on a 2-D-level.

1) Sagittal-Level: The setting of the force in chords and single (melody)
notes

2) Frontal-Level: Rolling inside one hand position no matter if
normal streched or chromatic. Transmission of weight!

3) Horizontal-Level: Connection between hand positions in a circular
movement


Synopsis Relativity Formula:

The musical form has to be programmed in the biological system with all
parameters and has to be effectualized by training a fluent 3-D-movement program.
Having this FLOW it is the basis for FREE communcation with the audience.<![endif]>


Note – location – time-structure x distance x
intensity x Envelope / 3D-body-levels =


Healthy and FREE communication with audience

From these elements -the movement atoms- any thinkable complex

movements can be developped easily in a free interpretatin. This includes
optimal prevention for professional diseases as tendinitis and others.

Target of this professional work is to take use of all knoledge
of music, music-therapy, medicine and piano-computer-technology and thus infuse
the music through the body-soul-system and let it sound transcendental.

©Wolfgang Ellenberger

Impulse conservation of momentum

Impulse elastic-inelastic