A series chronicling Fraser's still-developing approach to piano technique - first called Craft of Piano Method and now known as Piano Kinematics: the science and art of movement at the piano.
The Craft of Piano Playing: A New Approach to Piano Technique is the fruit of over 25 years' research by Alan Fraser, combining his training in the Feldenkrais Method with his long time studies under Phil Cohen (the Moshe Feldenkrais of the piano world) and Kemal Gekic, one of the top virtuosi on the world stage.
Fraser examines the structure and function of the human hand to unlock its innate potency. Analysing how we do what we do at the keyboard, he clarifies enigmas that have challenged pianists for generations, showing how many common keyboard movements are counterproductive. When these 'movement anomalies' are resolved, astonishing sonorities can be produced - and when this physical approach is linked to musical and performance issues, there's a flowering of new artistry.
This book will help improve your playing and also add a new dimension to your teaching.
Editions in English,
Honing the Pianistic Self-Image: Skeletal-Based Piano Technique brings the hand from its secure structure to a new, sophisticated state – unstable equilibrium – to gain even finer control over the colours and emotions produced at the piano.
When the body sits in unstable equilibrium , an harmonious relationship is established to the field of gravity offering crucial support to the hand on the keyboard.
Honing is about musicianship as well – 'physical' chapters are balanced out by those dealing with specifically musical issues, where Fraser links the idea of skeletality to rhythm, phrasing, harmonic colour and orchestration. Although Honing was written as a sequel to The Craft of Piano Playing, it stands well on its own and can be used effectively without prior exposure to Fraser's earlier work. It is used as a text book for university courses on wellness and piano playing.
Editions in English and French
All Thumbs: Well-Coordinated Piano Technique explores the hand's most fascinating and misunderstood digit. Never before has the thumb, one of the most neglected parts of the pianist's hand, received such a complete makeover. Its role is fleshed out, and a brilliant series of exercises is provided to bring its full potential to bear on ones technique.
Fraser shows how empowering the thumb leads to a similar empowerment of the fingers, hand, arm and shoulder. The sensorial re-education offered the thumb allows it to work more completely - its metacarpal bone learns to take part in all its actions.
Arm weight technique is also addressed in detail, with a discriminating evaluation of its potential pitfalls as well as a paean to the glories of its best incarnations. As always, the physical is linked to the musical, with applications to both easy and more complex excerpts from the repertoire.
Written as a sequel to Honing, this book also stands well on its own.
Play the Piano with Your Whole Self: Integrative Piano Technique begins by returning the hand
to its 'infancy.' All humans crept and crawled for a year before standing and walking, but a pianist's hand is forced to walk from day one - how can it function well? How can it learn? This book offers pianistic sensory education exercises that return the hand to pre-standing, pre-walking, pre-running and pre-leaping, allowing it to develop new motor skills.
It also explores the more delicate, incisive touch of harpsichord technique, helping the finger 'get inside' the key instead of impinging upon it - leading to a power more subtle and sophisticated than habitual muscular piano power. Moving from inside the key improves functioning of the kinematic chain, the linkage of one bone to another through the entire skeletal frame that keeps the system continuously vital.
Whole Self also explores biotensegrity, a potent, elastic state possessing immense power waiting to be unleashed.
This most far-reaching and transformative of Fraser's works on piano technique to date follows All Thumbs. Like the others in this series, stands well on its own.
English and French editions to be published in 2018
Transforming the Pianistic Self-Image: Piano Kinematics in Theory & Practice continues the integrative slant of Whole Self, re-evaluating the Taubman rotation approach, the arm weight approach, the Russian pressure approach, and other standard approaches to piano technique.
The book focuses largely on rhythm, exploring new ways of integrating a skeletal physical approach with rhythm, music's skeleton.
Fraser aims to create a new esthetic in piano performance free from the constraints of arm weight technique. The wrist must often minimize its movement to maximize the efficient transmission of forces through the kinematic chain. These often minute adjustments can lead to an astonishing sonic and artistic transformation.
As did his previous books, this one grows out of Fraser's experiences with Kemal Gekic, Phil Cohen, his Tai Chi teacher Sam Slutsky and the Feldenkrais Method of neuromotor re-education. This book forms an organic unity with its companion volumes, and can be taken as well on its own terms.
English edition to be published late 2018
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