Interactive List of all Blog Posts
TitleDate PostedKeyword
Chopin: Second Scherzo. Albeniz : Evoca├žionFebruary 16, 2017Albeniz
Anchor fingersMay 1, 2018Anchor
The ear and the brain: sensation and perceptionMarch 1, 2017Awareness
The wisdom and efficacy of not knowing the physical causeMarch 1, 2017Awareness
Magic with time and awareness at the pianoMay 9, 2017Awareness
Sometimes we think we are listening but are actually "feeling" a physical sensationMay 9, 2017Awareness
There is a benefit as well to being aware of a physical motion from instant to instant through timeMay 9, 2017Awareness
One of the secrets to voice separation in Bach fuguesApril 6, 2018Bach
More about teaching beginnersMarch 13, 2018Beginner
Is there a "typical" beginner 's first piano lesson?March 14, 2018Beginner
More about teaching beginners : how we label a sensationMarch 15, 2018Beginner
Introducing the beginner to the keyboard: black and whiteMarch 16, 2018Beginner
Introducing the new pianist to the keyboardMarch 16, 2018Beginner
Starting the first lesson: learning the names of the keysMarch 16, 2018Beginner
For the beginner : a circular diagram of the musical alphabet is bestMarch 17, 2018Beginner
Beginners : natural confusion between the horizontal plane of the keyboard and the vertical plane of the music staffMarch 17, 2018Beginner
The beginner who has trouble with rhythm and countingMarch 28, 2018Beginner
More about the "mental landscape" of the studentFebruary 24, 2017Beginners
The "mental landscape" in a student's mindFebruary 24, 2017Beginners
Beginners : at what exact moment should the teacher correct a student's "wrong" note?March 1, 2017Beginners
Teaching Technique 1 : concerning beginners who have studied for a few monthsApril 11, 2017Beginners
Teaching technique for younger beginners : tolerance for criticismApril 20, 2017Beginners
My least favorite Brahms symphony, up till nowJanuary 23, 2018Brahms
My least favorite Brahms symphony - at least until tonightFebruary 18, 2017Brahms
Changing the loudness of one note in a chordFebruary 6, 2018Chord
The delayed gratification of a chordFebruary 25, 2017Chord
Changing the loudness of single notes in a chordMarch 1, 2017Chord
How to manage counterpoint among three or more voicesFebruary 18, 2017Counterpoint
How to manage, mechanically, counterpoint among three or more voicesFebruary 19, 2017Counterpoint
Practice technique 28. Using registration to bring out one voice of several in polyphonic situationsApril 22, 2017Counterpoint
Ear training part 1 April 18, 2017Ear Training
Ear training part 4: resolving more complex ear abilities to simpler onesApril 19, 2017Ear Training
Ear training part 3: two people make up an ideally sized study group. How to proceed.April 19, 2017Ear Training
Ear training part 2: sound as "quality" and not a measurable "quantity"April 19, 2017Ear Training
A brief postscript about ear trainingApril 21, 2017Ear Training
Energy : the universal remedyMay 9, 2017Energy
I always choose the part "on the left"March 18, 2018Ensemble
Basic advice regarding ensemble playing: part one of twoMarch 1, 2017Ensemble
Basic advice regarding ensemble playing: part twoMarch 1, 2017Ensemble
If a computer can play more evenly than a human pianist, is the difference worth it?March 29, 2018Evenness
Does a finger have to strike a key with a vertically downwards motion?April 16, 2018Finger
Being in the grooveMarch 31, 2018Groove
The hand can act like a bouncing ballApril 24, 2018Hand
How one hand can help the otherApril 5, 2018Hands
Motions, real and imaginaryFebruary 16, 2017Imagination
Imagination and the principle of springsFebruary 17, 2017Imagination
6. The effectiveness of the imagination in executing motionsMay 9, 2017Imagination
7. Points of articulation in the body can be real or imaginaryMay 9, 2017Imagination
Practice technique 22: more about "full ambit " (see technique 21)April 4, 2017Motions
Melodies in octaves - balance of sound between the octavesMarch 29, 2018Octaves
Playing without any pain or discomfort: part fiveNovember 8, 2017Pain
Pain in the thumb. Solution one: no motion of the thumb independently of the hand as a wholeJanuary 26, 2018Pain
Pain in the thumb. Solution two: tug of warJanuary 26, 2018Pain
Pain in the thumb. Solution three: let it move, but 'glacially' slow.January 26, 2018Pain
Pain in the thumb . Solution four: congruence between the thumb and the piano keyJanuary 26, 2018Pain
Pain in the thumb. Solution five: one hand helps the otherJanuary 26, 2018Pain
Playing without any pain or discomfort: part oneMarch 17, 2017Pain
Playing without any pain or discomfort: part twoMarch 17, 2017Pain
Playing without any pain or discomfort: part fourMarch 17, 2017Pain
Playing without any pain or discomfort: part sixMarch 17, 2017Pain
Playing without any pain or discomfort: part sevenMarch 17, 2017Pain
Why I don't tend to listen to other performances of pieces that I am learning, part oneApril 22, 2017Personal
The seminal aesthetic influences in my lifeApril 22, 2017Personal
The ability to "shape" phrasesMarch 2, 2017Phrasing
More about the "protean" handFebruary 24, 2017Practice Techniques
The "protean" handFebruary 24, 2017Practice Techniques
Practice procedures - part one: introductionMarch 30, 2017Practice Techniques
Practice procedures - part two: absolute left and absolute right (versus relative left and right)March 30, 2017Practice Techniques
Practice procedures - part three: bouncing ball techniqueMarch 30, 2017Practice Techniques
Practice procedures - part four: "blobbing" downMarch 30, 2017Practice Techniques
practice procedures - part five: 'blob' and deflectMarch 30, 2017Practice Techniques
Practice procedures - part six: rolling a ball along the keyboardMarch 30, 2017Practice Techniques
Practice procedures: part 8: tracking consonance and dissonance from moment to momentMarch 31, 2017Practice Techniques
Practice procedures : part 9: hearing and bringing out an inner voiceMarch 31, 2017Practice Techniques
Practice procedures : part 10: the aesthetic quality of a chord by itself versus when followed by another chordMarch 31, 2017Practice Techniques
Practice procedures : part 11: keeping the hand in balance: anchoring one finger with anotherMarch 31, 2017Practice Techniques
Practice procedures : part 12: using the hand as a door with a hinge, opening and slamming the door shutMarch 31, 2017Practice Techniques
Practice procedures : part 13: list of all procedures posted as of 3/31/17March 31, 2017Practice Techniques
Practice procedures: part 14: the "plastic" or "protean" handMarch 31, 2017Practice Techniques
Practice procedures: part 15: minimum effort : the principle of least differenceApril 2, 2017Practice Techniques
Practice procedures: part 16: a "personal history" of a fingerApril 2, 2017Practice Techniques
Practice procedures: part 17: external versus internal forcesApril 2, 2017Practice Techniques
Practice procedures : part 18: cradling a part of the playing mechanismApril 2, 2017Practice Techniques
Practice technique 19: achieving a long lineApril 4, 2017Practice Techniques
Practice technique 20: lessening tension in the fingersApril 4, 2017Practice Techniques
Practice technique 21: the third dimension and the full ambit of motionApril 4, 2017Practice Techniques
Practice technique 23: skips and jumps on the keyboardApril 5, 2017Practice Techniques
Practice technique 24: for relaxation : using slower and slower motionsApril 5, 2017Practice Techniques
Practice technique 25: crossing hands (as in the Goldberg variations)April 5, 2017Practice Techniques
Practice technique 26: crossing hands , second techniqueApril 7, 2017Practice Techniques
Practice technique 27: a land of opposites: the solution often lies in the opposite directionApril 10, 2017Practice Techniques
Practice procedure : part 7: "brushing" the fingers back along the keys\April 12, 2017Practice Techniques
Practice technique 31. Synchronization between notes of the two handsApril 25, 2017Practice Techniques
Practice technique 29. Motion within motionsApril 25, 2017Practice Techniques
Practice technique 30. Extreme speed. Part 1April 25, 2017Practice Techniques
The " protean" handMay 9, 2017Practice Techniques
13. The full ambit of a motionMay 9, 2017Practice Techniques
A "crescendo" of relaxationMarch 31, 2018Relaxation
Sometimes subdividing beats , sometimes combining beatsMarch 19, 2018Rhythm
How to play 3 in one hand against 2 in the otherApril 16, 2018Rhythm
Scales . And how one hand helps the other.March 1, 2017Scales
Sight ReadingFebruary 5, 2018Sight-reading
Techniques for the pianist with smaller hands : part one: substitutionMarch 20, 2017Smaller Hands
"Sonic" glue: a path for the ear to follow through a passage that unifies the passageFebruary 28, 2017Sonic Glue
14. "Sonic Glue"May 9, 2017Sonic Glue
Sound , hearing. and the brainMay 1, 2018Sound
When a piano sound "glows"February 18, 2017Sound
4. Hearing the middles of the soundsMay 9, 2017Sound
The shape of the hand as a whole. As a three dimensional formFebruary 24, 2017Space
The fullest ambit of motionFebruary 25, 2017Space
Translation of axesMarch 1, 2017Space
15. Translation of axis in spaceMay 9, 2017Space
Springs : easily created, and then able to release a sudden surge of energyMarch 7, 2018Springs
Springs and ideated motions: part twoFebruary 16, 2017Springs
Springs : easily created, and then sudden surge of energyMarch 1, 2017Springs
Enumerating some of the springsMarch 1, 2017Springs
Playing 'extremely' fastMarch 16, 2017Springs
8. The body " springs " to actionMay 9, 2017Springs
The sense of lack of supportMarch 17, 2018Support
11. The "mental landscape" of the studentMay 9, 2017Teaching
Solving technical hurdles in difficult passagesApril 21, 2018Technical Hurdles
Music, the art of time . The manipulation of conscious perception of time.May 9, 2017Time
Chords & melody: the simultaneous and the sequential March 11, 2018Time
Music is the Art of Time AloneMarch 19, 2018Time
Riding the forward wave of time : catching the flow of a single note in our consciousnessApril 24, 2018Time
List of today's 15 'encore' postingsMay 9, 2017