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This silent video is the best advice I know on the four different ways to bring about key depression. The hand's mine by the way:[quote=Nyiregyhazi]Just to illustrate the sheer importance of a supportive hand, here's Carola Grindea's hand. Do those pronounced knuckles reveal the shape of a 'relaxed' hand, or a shape that has been formed through efficient, well-controlled grip in the hand? I have rarely seen a more solidly formed arch. This is clearly the kind of hand that supports enough at the keyboard to reduce the requirement of extensive balancing forces further back in the arm- in a fashion that (unlike some methods) does not purport to break any laws of physics.
You're resuscitating this nonsense again? As I explained at the time- that hand has excellent solid arch shape in the knuckles (which you sadly you abandon in your other videos, rather than benefit from). The strong shape your hand makes there is nowhere to been seen elsewhere- hence the error.
Just how intent are you on shoe-horning a personal vendetta into any topic? Intent enough to scour the archives and quote a post I wrote about 2 years ago? Accusing me of dishonesty and libelling me in another thread wasn't good enough for you? I have no interest whatsoever in any silly personal battles with you. If you make any further attempts to draw me into one it will be going straight to the moderators.
Incidentally, I am rather flattered that you had to go two whole years back in the archive, in order to try make me look silly. Anyway, I now know better than to be so short-sighted as to assume that the way a person shapes the knuckles of their hand when moving over the keys will have any bearing upon the whether they employ a stable arch while generally playing.
Loc: London, UK (though if it's Aug...
Many problems come from the fact that most work toward a technique suited exactly to a contemporary standard - the idea that all pianos should have the same action and you train to play that ideal piano. For what other instrument is that the case? Every oboist has their own bespoke reeds, every violin differs as does every guitar. I've seen a highly regarded pianist bashing away on a lighter-than-conventional piano action as if they're playing their Steinway at home and consequently breaking strings. Why should the instrument accommodate your technique? It should be the other way around - why would you want it any other way? The MacDonald's school of piano playing?