Comments on: When the piano “is playing” the pianist http://www.thepianist.com/2009/11/when-the-piano-is-playing-the-pianist/ A journey in the world of pianists, musicians, composers who changed our lives and times - Written by Italian pianist Roberta Pili Wed, 23 Jun 2010 01:47:51 +0000 http://wordpress.org/?v=abc hourly 1 By: Roberta Pili http://www.thepianist.com/2009/11/when-the-piano-is-playing-the-pianist/comment-page-1/#comment-32 Roberta Pili Thu, 26 Nov 2009 00:23:15 +0000 http://www.thepianist.com/?p=351#comment-32 Thank you for your comment, Pathan. In few words, the best way to understand the function of the leverage principle in our body is given by an accurate study of human anatomy. We can be able to reproduce the leverage use with hands, arms, shoulders and back once their motoric system has been completely captured in theory and then by consciously using them. The fulcrum has to be considered in each part of the body which is directly connected with the playing. It is worthy to concentrate first on the separated feeling of the fulcrum in the hand, the lower arm, the upper arm. Then combine all these through the mental imagination and we will soon realize, after a focussed study and practicing, that each fulcrum builds a common line in between the entire arm. Solving this question it is then possible to apply our anatomic sources to extend our capacities in a technically exact performance. Thank you for your comment, Pathan.

In few words, the best way to understand the function of the leverage principle in our body is given by an accurate study of human anatomy. We can be able to reproduce the leverage use with hands, arms, shoulders and back once their motoric system has been completely captured in theory and then by consciously using them.
The fulcrum has to be considered in each part of the body which is directly connected with the playing.
It is worthy to concentrate first on the separated feeling of the fulcrum in the hand, the lower arm, the upper arm. Then combine all these through the mental imagination and we will soon realize, after a focussed study and practicing, that each fulcrum builds a common line in between the entire arm. Solving this question it is then possible to apply our anatomic sources to extend our capacities in a technically exact performance.

]]> By: Pathan K. http://www.thepianist.com/2009/11/when-the-piano-is-playing-the-pianist/comment-page-1/#comment-31 Pathan K. Fri, 20 Nov 2009 19:36:07 +0000 http://www.thepianist.com/?p=351#comment-31 Hello, Roberta, I know that you expressed the beliefs of generations of piano-players. I can see how the leverage works in the piano action: depressing one side of the fulcrum rises the other. But how does it work inside the body, how is the use of anatomy in playing based on the leverage principle? In other words: where's the fulcrum here? Hello, Roberta,
I know that you expressed the beliefs of generations of piano-players. I can see how the leverage works in the piano action: depressing one side of the fulcrum rises the other. But how does it work inside the body, how is the use of anatomy in playing based on the leverage principle? In other words: where’s the fulcrum here?

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