Explanation of Piano Technique
[features_box_yellow width=”75%” + border=”2px”]Beginning Level.
Use this section on technique according to your needs. It’s always advisable to have a daily regime of piano technique practice.[/features_box_yellow]
I am presenting a very basic set of principles and exercises to develop your jazz piano technique. At the outset I say that these are my ideas – a collection of thoughts from classical piano teachers and a great deal of my own analysis.
The single most important element of piano technique is to become comfortable with the “key bed” – that it is the bottom of the key. In development of any instrument – it is most important that you define where the initial sound is created. In the case of the piano, that is the instant the hammer touches the harp or strings in the piano. In the case of the piano – you have to project your mind to the hammer and strings, since it is not usually convenient to see the event.
It is most important that you don’t think that the sound of the piano is created by pushing down the keys in front of you. if you do, you will probably develop a “struck tone” – instead of a “singing tone”. This is important because . . . literally, the piano can’t sing. It doesn’t have vocal cords. The piano can’t ‘bow it’, or ‘blow’ across a reed or vocal cord. Since the piano can’t literally sing . . . we have to approximate the “singing tone” so that the listener feels that the piano is singing.
Why is this important – especially for jazz? It’s important because all music is an emotional event. We want to create that emotional event in the mind and heart of the listener. Striking the piano is too jarring and distorted to do this. I believe that one of the main reasons that we like one pianist over another is largely due to his ability to connect to the listener’s heart, soul and emotion by using the “singing” tone.
In my mind – no one explains this process better than Kenny Werner. For instance – in his wonderful book, “Effortless Mastery”, Kenny talks about the initial experience of just sitting in front of the piano. Sitting and breathing and becoming very quiet and centered (feeling the “space”) you “allow” the arm and finger to raise and gently and automatically fall onto the key bed. You allow the sound of the piano to “wash” over you. Kenny suggests that you say: “That is the most beautiful sound I have ever heard”. Then, while gravity is holding the finger to the key bed – you transfer the weight to another finger.
Technique Exercises:
- My favorite essential exercise is practicing all the major and minor scales played with a metronome in duple meter for two octaves; in triple meter for three octaves; and four octaves in sixteenth notes.
- Secondly – I like playing arpeggios. They can be first played in triads, then seventh chords. You can also play them in the inversion of triads and sevenths. As with the scales you play them in duple meter for two octaves – in triple meter for three octaves and then in sixteenth notes for four octaves.
- Finally – my basic group of exercises uses the famous Hanon Exercises. When playing Hanon it is most important that you don’t bang on the keys. Start by playing the exercises slowly, with sensitivity, legato and good tone. Then slowly pick up the tempo, but keep the good tone and sensitivity. Lastly – once you play the Hanon Exercises in C major – then start playing them in all keys. You can also play Hanon in minor keys.
