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{6} The Effectiveness of The Imagination In Executing Motions

May 9, 2017

{6} The Effectiveness of The Imagination In Executing Motions

AN EXAMPLE: EXECUTING DOUBLE OCTAVES IN SPEED (It takes time to move in space)

The most powerful way to do this would be to raise both the arms several feet or more between each octave and the next.   There is a however limit as to how fast we can do this.  If we try to make these motions occur faster, there is simply not enough time to raise the arms all the way up, there is only time to lift them a short distance above the keyboard.  It takes time to move in space.


There is a difference perceiving motion externally with the eyes and perceiving it internally

in our body – kinesthetically.  Usually the outward perception masks the inward, but by closing the eyes, we can become in tune with the just the inward sensations.


The possibility exists for a motion to feel like it is happening although to an external observer no motion is perceived.   And sight no longer contradicts our inward sensations.

Start by counting slowly from one to five as you raise and then lower your arms.   Then repeat the action in full.  Each time you do,, double the number to which you count.  No matter how high you count, at no moment should you loose the internal sensation that motion is still happening.

In the next phase, practice feeling as if you are raising and lowering your arms through a wide ambit in space, though no motion is occurring within the space outside your body.  The neurons in our brain can remember what the feeling was like from before, and recreate the same bodily sensations.   You can see where this is leading.   ///26///


Begin in the first measure to play slowly, athletically raising and lowering your arms, and then segue into a faster and faster tempo.  The motions of the arm will become compressed but will actually gain power thereby and not loose power.

In the imagination there is no lower time limit for the muscles to reproduce the entire scope of the sensation the sensation of raising the arms up high and lowering them again.  This stems entirely from the difference between what a motion feels like and what a motion looks like.   Even if only an instant on the clock transpires, our muscles can still feel like we are going through the full extent of the motion.


In this distinction between inner and outward perceptions lies the key to harnessing the energy necessary to execute the most difficult passages, including but not limited to the one we are considering.


-How the distinction between inner and outer sensations explains why a fine pianist can skip from one part of the keyboard to another, without there being the perception of intervening motion through visual space on the part of an observer. The hand seems magically to have reappeared in another place

-How, through our inner kinesthetic sensations we can develop control of fractions of seconds in the flow of the music.

-How an analogous consideration of our more general feelings (not our kinesthetic ones) leads to exquisite-sounding playing. That time itself can be dilated or compressed: one can do a lot with a phrase if a second on the clock feels many seconds in our consciousness.


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