Chords for Brilliant Piano Finger Technique - Free Piano Lessons
Tempo:
115.4 bpm
Chords used:
F
C
Eb
G
D
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
[F]
[C] [F] Hi, I'm Robert Estrin here at Living Pianos TV, [N] and today I have a very special show for you.
You know, growing up I would listen to some of the great pianists, of course Horowitz,
but some of the pianists from early 20th century, Hoffman and Rachmaninoff,
Joseph Levine, and I was always so impressed with the pristine finger works.
It almost would sound like like a string of jewels because of the evenness of the notes,
and I always wondered how to achieve that sound.
So today's show is about how to get brilliant finger work.
So I'm going to regress a little bit more.
When I first started setting the piano with my father Morton Estrin,
he showed me how to practice scales with raised fingers, and
oftentimes my students ask me, why do I have to raise my fingers?
Let me show you what I'm talking about.
With slow scale practice, it's important for strength to raise the fingers like this.
[C] [D]
[F] [G] [A] [B]
[C] [D] [E] [F]
[G] [A] [C]
[Bb] Now, you may wonder why would you ever want to play that way, because obviously when you play quickly,
you don't have time to raise the fingers.
The secret to getting the evenness in your scale work and your fast finger passages [N] is the release of notes.
For example, if you were to put your hand on a flat surface like this and just try to lift one finger,
well, some of them are pretty hard to lift.
Try to lift your fourth finger with your hands on a flat surface,
and it's very hard.
It's actually the release of notes that takes more strength
than the pushing down of notes.
So the strength in the release, [Eb] that is the reason for practicing
slowly with raised fingers.
So you practice the release of each note, [B] and that
[F] will lead to the kind of pristine beauty you can get in [F] fast finger work.
[Eb] [Ab] [F] So
[Eb]
[Fm] [Bb] [Eb]
[F] that is the secret, one of the secrets for achieving beautiful clarity in your playing.
There are many others that I will discuss in future videos in terms of hand position and other practicing techniques,
but for now, I suggest very strongly practice your scales and your arpeggios slowly with raised fingers,
then work up gradually faster.
As you get faster, the fingers by necessity must be closer and closer to the keys.
Until you can play quickly, but still have the pristine evenness.
So each note is exactly the same length because the release of each previous note is
accomplished by the raising of fingers.
So that's [Gb] all for today.
Thanks for joining me, Robert Estrin here at Living Pianos TV, and expect more of these technique videos for you.
Thanks for joining me.
[G] [C]
[C] [F] Hi, I'm Robert Estrin here at Living Pianos TV, [N] and today I have a very special show for you.
You know, growing up I would listen to some of the great pianists, of course Horowitz,
but some of the pianists from early 20th century, Hoffman and Rachmaninoff,
Joseph Levine, and I was always so impressed with the pristine finger works.
It almost would sound like like a string of jewels because of the evenness of the notes,
and I always wondered how to achieve that sound.
So today's show is about how to get brilliant finger work.
So I'm going to regress a little bit more.
When I first started setting the piano with my father Morton Estrin,
he showed me how to practice scales with raised fingers, and
oftentimes my students ask me, why do I have to raise my fingers?
Let me show you what I'm talking about.
With slow scale practice, it's important for strength to raise the fingers like this.
[C] [D]
[F] [G] [A] [B]
[C] [D] [E] [F]
[G] [A] [C]
[Bb] Now, you may wonder why would you ever want to play that way, because obviously when you play quickly,
you don't have time to raise the fingers.
The secret to getting the evenness in your scale work and your fast finger passages [N] is the release of notes.
For example, if you were to put your hand on a flat surface like this and just try to lift one finger,
well, some of them are pretty hard to lift.
Try to lift your fourth finger with your hands on a flat surface,
and it's very hard.
It's actually the release of notes that takes more strength
than the pushing down of notes.
So the strength in the release, [Eb] that is the reason for practicing
slowly with raised fingers.
So you practice the release of each note, [B] and that
[F] will lead to the kind of pristine beauty you can get in [F] fast finger work.
[Eb] [Ab] [F] So
[Eb]
[Fm] [Bb] [Eb]
[F] that is the secret, one of the secrets for achieving beautiful clarity in your playing.
There are many others that I will discuss in future videos in terms of hand position and other practicing techniques,
but for now, I suggest very strongly practice your scales and your arpeggios slowly with raised fingers,
then work up gradually faster.
As you get faster, the fingers by necessity must be closer and closer to the keys.
Until you can play quickly, but still have the pristine evenness.
So each note is exactly the same length because the release of each previous note is
accomplished by the raising of fingers.
So that's [Gb] all for today.
Thanks for joining me, Robert Estrin here at Living Pianos TV, and expect more of these technique videos for you.
Thanks for joining me.
[G] [C]
Key:
F
C
Eb
G
D
F
C
Eb
_ _ _ _ [F] _ _ _ _
[C] _ _ _ _ _ [F] _ Hi, I'm Robert Estrin here at Living Pianos TV, [N] and today I have a very special show for you.
You know, growing up I would listen to some of the great pianists, of course Horowitz,
but some of the pianists from early 20th century, Hoffman and Rachmaninoff,
Joseph Levine, and I was always so impressed with the pristine finger works.
It almost would sound like like a string of jewels because of the evenness of the notes,
and I always wondered how to achieve that sound.
So today's show is about how to get brilliant finger work.
So I'm going to regress a little bit more.
When I first started setting the piano with my father Morton Estrin,
he showed me how to practice scales with raised fingers, and
oftentimes my students ask me, why do I have to raise my fingers?
Let me show you what I'm talking about.
With slow scale practice, it's important for strength to raise the fingers like this.
[C] _ _ [D] _ _ _
[F] _ _ [G] _ _ [A] _ _ _ [B] _
[C] _ _ [D] _ _ [E] _ _ [F] _ _
[G] _ _ [A] _ _ _ [C] _ _ _
[Bb] Now, you may wonder why would you ever want to play that way, because obviously when you play quickly,
you don't have time to raise the fingers.
The secret to getting the evenness in your scale work and your fast finger passages [N] is the release of notes.
For example, if you were to put your hand on a flat surface like this and just try to lift one finger,
_ well, some of them are pretty hard to lift.
Try to lift your fourth finger with your hands on a flat surface,
and it's very hard.
It's actually the release of notes that takes more strength
than the pushing down of notes.
So the strength in the release, [Eb] that is the reason for practicing
slowly with raised fingers.
So you practice the release of each note, [B] and that
[F] will lead to the kind of pristine beauty you can get in [F] fast finger work. _ _ _ _ _ _ _
[Eb] _ _ [Ab] _ _ [F] So _ _
_ _ _ _ _ _ [Eb] _ _
[Fm] _ _ [Bb] _ _ [Eb] _ _ _ _
[F] _ that is the secret, one of the secrets for achieving beautiful clarity in your playing.
There are many others that I will discuss in future videos in terms of hand position and other practicing techniques,
but for now, I suggest very strongly practice your scales and your arpeggios slowly with raised fingers,
then work up gradually faster.
As you get faster, the fingers by necessity must be closer and closer to the keys.
Until you can play quickly, but still have the pristine evenness.
So each note is exactly the same length because the release of each previous note is
accomplished by the raising of fingers.
So that's [Gb] all for today.
Thanks for joining me, Robert Estrin here at Living Pianos TV, and expect more of these technique videos for you.
Thanks for joining me.
[G] _ _ _ _ _ _ [C] _ _ _ _ _ _ _ _
[C] _ _ _ _ _ [F] _ Hi, I'm Robert Estrin here at Living Pianos TV, [N] and today I have a very special show for you.
You know, growing up I would listen to some of the great pianists, of course Horowitz,
but some of the pianists from early 20th century, Hoffman and Rachmaninoff,
Joseph Levine, and I was always so impressed with the pristine finger works.
It almost would sound like like a string of jewels because of the evenness of the notes,
and I always wondered how to achieve that sound.
So today's show is about how to get brilliant finger work.
So I'm going to regress a little bit more.
When I first started setting the piano with my father Morton Estrin,
he showed me how to practice scales with raised fingers, and
oftentimes my students ask me, why do I have to raise my fingers?
Let me show you what I'm talking about.
With slow scale practice, it's important for strength to raise the fingers like this.
[C] _ _ [D] _ _ _
[F] _ _ [G] _ _ [A] _ _ _ [B] _
[C] _ _ [D] _ _ [E] _ _ [F] _ _
[G] _ _ [A] _ _ _ [C] _ _ _
[Bb] Now, you may wonder why would you ever want to play that way, because obviously when you play quickly,
you don't have time to raise the fingers.
The secret to getting the evenness in your scale work and your fast finger passages [N] is the release of notes.
For example, if you were to put your hand on a flat surface like this and just try to lift one finger,
_ well, some of them are pretty hard to lift.
Try to lift your fourth finger with your hands on a flat surface,
and it's very hard.
It's actually the release of notes that takes more strength
than the pushing down of notes.
So the strength in the release, [Eb] that is the reason for practicing
slowly with raised fingers.
So you practice the release of each note, [B] and that
[F] will lead to the kind of pristine beauty you can get in [F] fast finger work. _ _ _ _ _ _ _
[Eb] _ _ [Ab] _ _ [F] So _ _
_ _ _ _ _ _ [Eb] _ _
[Fm] _ _ [Bb] _ _ [Eb] _ _ _ _
[F] _ that is the secret, one of the secrets for achieving beautiful clarity in your playing.
There are many others that I will discuss in future videos in terms of hand position and other practicing techniques,
but for now, I suggest very strongly practice your scales and your arpeggios slowly with raised fingers,
then work up gradually faster.
As you get faster, the fingers by necessity must be closer and closer to the keys.
Until you can play quickly, but still have the pristine evenness.
So each note is exactly the same length because the release of each previous note is
accomplished by the raising of fingers.
So that's [Gb] all for today.
Thanks for joining me, Robert Estrin here at Living Pianos TV, and expect more of these technique videos for you.
Thanks for joining me.
[G] _ _ _ _ _ _ [C] _ _ _ _ _ _ _ _