978-1-4616-6411-6 • eBook • March 2003 • $47.62 • (£37.00)
Canadian pianist Alan Fraser is Professor of Piano and Feldenkrais Method at the Art Academy of the University of Novi Sad, Serbia.
Chapter 1 Illustrations
Chapter 2 Musical Examples
Chapter 3 Applications
Chapter 4 Acknowledgments
Part 5 SECTION I — THE FOREGROUND: PIANISTIC PROBLEMS IN MUSICAL CRAFT
Chapter 6 Part I — Getting Started
Chapter 7 Part II — General principles of Movement at the Piano
Chapter 8 Part III — Hand Strength and Function A: Perfecting Legato
Chapter 9 Part IV — Hand Strength and Function B: The Special Role of the Thumb and Its Relationship to the Forefinger
Chapter 10 Part V — Hand Strength and Function C: Octaves to Synthesize Hand and Arm Function
Chapter 11 Part VI — Hand Strength and Function D: Maximal Articulation of the Fingers
Chapter 12 Part VII — Above the Hand: The Role of the Wrist and Arm in Legato
Chapter 13 Part VIII — Rotation
Chapter 14 Part IX — Natural Finger Shape
Chapter 15 Part X — Some Other Touch Strategies and Combinations
Part 16 SECTION II — THE MIDDLEGROUND: SOME GENERAL ASPECTS OF MUSICAL CRAFT
Chapter 17 Part XI — Rhythm
Chapter 18 Part XII — Phrasing
Chapter 19 Part XIII — Orchestration
Part 20 SECTION III — THE BACKGROUND: TELL A STORY
Chapter 21 Part XIV — Emotional Content
Chapter 22 Part XV — A Few Last Thoughts
Chapter 23 Appendixes
Chapter 24 Bibliography
Chapter 25 Index
Chapter 26 About the Author
Alan Fraser has written a formidable and insightful volume on piano technique. Using the Feldenkreis Method as his foundation, he has presented 417 articulate and often eloquent pages....the teacher working with younger students might find his book of great interest...I am pleased to recommend Fraser's book...
— Louis Nagel; American Music Teacher
This study is the result of years of searching and thinking about piano performance and pedagogy; Fraser brings to it his astoundingly profound knowledge of body movement and structure, acquired through his training as a practitioner of the Feldenkrais Method, and his study of Eastern martial arts such as T'ai chi, in addition to extensive experience as a concert performer and pedagogue...Fraser challenges many common pedagogical beliefs and ideas of movement, with detailed discussions of such areas as arm weight and the role of the arm, legato playing and natural finger shape among others. Although this study is devoted primarily to the physical aspect of playing the piano...fascinating insights and ideas are also provided into the middleground and background, namely rhythm and phrasing, and the emotional content of music.
— Manus Carey; Journal Of The Isstip
There are many useful ideas here, not just in the technical exercises, but also in the shorter sections on communication and interpretation.
— Classical Music
The most detailed and intensive study of the subject since Otto Ortmann's seminal work, The Physiological Mechanics of Pianoforte Technique (1929).
— Daniel Stearns; Piano Magazine
All serious piano students should acquire this book, which is well-devised, carefully structured, and always laced with humour on this very serious topic…...
— Nadia Lasserson; Journal Of The European Piano Teachers' Association Uk
Fraser fills his book with interesting observations, procedures, and thought-provoking personal concepts. Recommended.
— Choice Reviews
...there are topics in this text not really addressed elsewhere. It would make a good 'alternative' pedagogy text for courses about piano technique and a thought-provoking read for the advanced pianist.
— Michael I. Goode; American Music Teacher
...a valuable addition to performance studies, communicating some of the passion (rarely found in this and other areas of study) that the author feels for the music under discussion.
— Music & Letters