COURSE SUPPLEMENT

TWO GUIDING PRINCIPLES OF WATCH THE LESSON

AT TONEBASE.CO
TECHNIQUE
MOTION AND MECHANICS: LESSON 1
BORIS BERMAN – INSTRUCTOR

“We first need to agree where the pianist’s movement begins.”

The movement of a pianist begins at the fingers. They are the

initial element which starts every movement, and bigger levers
are involved as needed. This leads to two principles:

First is “the economy principle”. Its essence is: not to use

bigger parts of the body when a smaller one can do the job. It
is important that we keep in mind the musical needs as well as
technical ones.

The beginning of the F

Major invention by Bach
can be easily played by
fingers alone, but this may
sound too thin. One may
wish to lightly bounce the
wrist as well.

The second principle is the “extension principle”. It requires

us to view all of our piano-playing anatomy (finger, hand,
forearm, arm) as the continuation of adjacent parts, with each
unit always ready to support and share the work with others.

If the fingers can’t accomplish the job, we activate the hand; if this is not enough,
we add the forearm, then arm. Collaboration between these parts is the key to
effortless technique.

Watch the lesson at tonebase.co Berman 1

 The musical considerations will always override the
“economy principle” consideration.

As an example, most of Mozart’s

textures can be comfortably played
using the fingers only, but the
sound is often too skinny. To beef it
up, involve larger muscles.

This passage from Chopin’s F minor

Fantasy can also be easily played
with fingers alone. But Berman likes
to add slight, lateral movements of
the wrist to add expression.

However, if these wrist “loops”

were applied to the beginning of the
last movement of Prokofiev’s Sixth
Sonata, it would sound too “nice”,
too gentle.

The participating parts of the body connect through joints

which must feel loose and flexible, except for the rare
moments when a very forceful playing is required.

Berman demonstrates this principle often on his students. When the movement
of the fingers becomes too big, the hand becomes involved. As the movement
continues growing, the forearm, and eventually the entire arm, are used. Remain
very loose.

Watch the lesson at tonebase.co Berman 2

 Bach Invention No. 8, mm. 1-3

Mozart Concerto No. 14, K. 414 Mvt 1

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 Chopin Fantasie, Op. 49

Prokofiev Sonata No. 6 4th Mvt mm. 1-4

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