piano source

Concentrating on the source of vibration, you can imagine it is located as deep as possible in the ground. Then, you let the vibrating sound flow around, and do not try to push it outside so that it keeps its fullness, whatever the instrument.

Avoiding any unnecessary stresses, the wind player or the pianist as well even can imagine and picture his vibration from his heels.


{ Grigori Kogan in his lectures and later (1958) in his small book U vrat masterslva (“At the Gates of Mastery“) put forward as psychological prerequisites of successfulpianistic work three basic principles :

(1) The ability to hear inwardly the musical composition which has to be realized on the instrument — to hear it extremely clearly as a whole, as well as exact in all its details.

(2) The most passionate and persistently intense desire to realize that glowing musical image.

(3) The full concentration of one’s whole being on his task in everyday practice as well as on the concert stage. }

The most thoughtful and advanced musicians (…) insisted that “the technical training from the ‘outside’ must be replaced by technical training from the ‘inside’. “

Grigori Kogan called this third main trend in the theory of piano playing the psychotechnical school.


Hugo Riemann (1849-1919) wrote:

“It is impossible to develop velocity otherwise than through exercise of the telegraphic apparatus from brain to muscles. The process from within-outward cannot be replaced by anything.“


George Kochevitsky, The Art Of Piano Playing

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