Sitting Position
Sitting well is Job One for all pianists. What are the criteria to consider each time you set yourself up to play?
Skills
The backbone of Entrada’s pedagogy, Skills is where you’ll find focused, sequenced videos designed to build a whole-body, three-dimensional technique from the very beginning through the most advanced levels.
Fundamentals
Anatomy and The Point of Sound
Fundamental biomechanical concepts and how the escapement works are important foundational elements to understand from the start.
Natural Hand Position
Chopin had it right a long time ago; contrast his natural approach vs. many other ‘hands’ taught over the past 250 years--including recently.
Utilizing Gravity and Alignment
Experiencing free fall and understanding alignment are essential to all aspects of pianism, from beginning through the most advanced levels.
Whole-Body Technique: Balancing Freedom and Support
More vital foundational principles that set up effective three-dimensional movement
The Basic Vibrato Motion
The basic motion that eventually leads to virtuoso-level trills, tremolos, and octaves can be learned by anyone, and frees up the body for more fluid movement, even very early in piano studies.
Three-Dimensional Movement
Two-Note Slur Introduction on Fingers 2 & 3
Franz Liszt was a huge fan of two-note slurs, for both musical and technical reasons. How to play them with effective, whole-body technique from the beginning?
Two-Note Slurs: One Pair at a Time & Pausing to Evaluate
Isolating one two-note pair requires careful evaluation. This helps establish good practice habits early on for efficient three-dimensional movement and sensitive listening.
Continuous Two-Note Slurs with Fingers 2 & 3, Ascending
Playing two and more pairs of two-note slurs is combined with stopping to evaluate for fluid motion and musical listening, and leads to continuous, three-dimensional movement.
Two-Note Slurs with Fingers 3 & 4 and 1 & 2
Applying the two-note slur process to other finger combinations is essential for developing complete coordination at the piano.
Two-Note Slurs with Fingers 4 & 5, Ascending
Special attention is given to the challenge of making a two-note slur on fingers 4 & 5 sound similarly good as all other adjacent pairs.
Descending Two-Note Slurs
Descending slurs in the right hand receive additional focus. Practice ascending slurs in the left hand for a parallel experience.
Descending Two-Note Slurs in Pairs
With all two-note slurs, moving in either direction, note the different lengths of the fingers involved, slide and make adjustments in the vertical plane, accordingly.
Three-Note Slurs
Three-note slurs herald the real beginning of elliptical shaping.
Four-Note Slurs
Three-dimensional motion becomes increasingly apparent with four-note slurs.
The Basic Three-Dimensional Form on Five Notes
Moving simultaneously in three planes of motion comes together most evidently on a pentascale, and lays the foundation for the one-octave arpeggio and more advanced movement.
Repeated Single Notes
Vibrato on Single Notes
Mastering repeated notes on single notes with each finger establishes coordination of the Vibrato Technique for advanced trills, tremolos, repeated chords, and octaves.
One-Octave Arpeggios
One Octave Arpeggios Overview
Using proper technique and listening for clarity in one-octave arpeggios are crucial to achieving professional-level arpeggios of two and more octaves.
Foundational Elements in One-Octave Arpeggios
Avoiding twisting, keeping the hand small, good preparation and follow-through, and a supple wrist are some of the foundational elements combined for an effortless arpeggio.
Preparing Three-Dimensional Motion
Whole-body exercises utilizing the horizontal and vertical planes and avoiding twisting sets you up for fluid three-dimensional motion.
Cultivating Three-Dimensional Motion
A series of targeted exercises facilitate the elliptical “under and out” shaping for the right hand’s ascent.
The One-Octave Ascent
Consolidate gains made in shaping with targeted refinements for continuously improving three-dimensional movement.
Momentum and the Descent
A comprehensive review of foundational elements sets you up to easily move in the opposite direction for each hand.
Isolating Three Notes at a Time
By carefully applying three-dimensional principles and pausing to evaluate in small groups, musical and technical gestures are integrated.
The Complete One-Octave Arpeggio
Isolating several notes at a time and incorporating the turnaround figures at faster speeds guides you to mastery of continuous one-octave arpeggios.
Sound Quality
Approaches to Sound
Study and apply the three families of sound: round, rhythmic, and ringing.
Two-Octave Arpeggios
Learning "The Throw"
Learn the biomechanics and basic approach to the throw, essential for rapid arpeggios of two and more octaves.
The Throw on the Interval of a Second
Before throwing on actual arpeggio intervals, it’s important to master the smaller interval of a second.
Moving Toward Throws on Thirds
Detailed musical and technical work with focus on seconds leads toward the thirds required in arpeggios.
Throws on Thirds, Fourths, and Larger Intervals
Mastering throws on larger intervals liberates you not only for advanced arpeggios but also improved spatial awareness for other jumps required in repertoire.
The Check-Mark Motion
To connect notes just before and after a throw, use reduced intervals and the “check-mark” motion.
Combining Three Dimensional Momentum with the Throw
Performing four notes quickly using momentum and released fingers foreshadows the liberated feeling and sound you will experience with full arpeggios of all kinds.
Preparing for the Two-Octave Ascent in the Right Hand
Practice a series of exercises designed to facilitate the most challenging part of outstanding arpeggios: linking the first octave with the second to the note just past the throw.
The Complete Two-Octave Ascent
By integrating all foundational elements, momentum, and three-dimensional movement, you’ll achieve an advanced ascending two-octave arpeggio.
Preparing for the Two-Octave Descent in the Right Hand
Isolating three notes just before and after the throw requires a sudden movement toward your body, beginning with reduced intervals.
The Complete Two-Octave Descent
The full descent is achieved by using momentum and follow-through movement similar to how you mastered the two-octave ascent.
Putting It All Together
By reviewing and combining all elements studied to this point with targeted exercises and turnarounds at fast speeds, you can master the complete two-octave arpeggios at a professional level.
- Linking the One-Octave Arpeggio with the Throw
- Linking the One-Octave Arpeggio with Larger Throws
- Linking One Octave Ascending with Two Octaves Descending
- Reviewing the Ascending Throw with Momentum
- The Turnarounds
- Two-Octave Arpeggios Beginning from the Top
- Two-Octave Arpeggios Beginning from the Bottom
- Two Octaves with Double Turnarounds
Vibrato Technique Context
Vibrato Technique
Through a lesson with an advanced student and whole-body exercises, the stage is set for playing repeated chords, octaves, tremolos and trills.
Repeated Chords
Repeated Chords
By synchronizing small adjustments in three planes of motion, the vibrato technique enables you to play repeated chords effortlessly, at any speed required at the piano.
Octaves
Preparing to Play Octaves
Exercises that isolate the thumb and the reduced interval of a sixth help you cultivate proper form for playing full octaves.
Octaves for Individual Hand Sizes
Principles for smaller hands can be employed by pianists with any sized hand; this subunit includes more exercises to instantaneously release octaves and to maintain a ‘small’ hand.
Practicing Octaves
Combining the vibrato technique with all three-dimensional principles learned previously allows you to play octaves continuously, without fatigue.
Tremolos
Tremolo Basics
Vibrato exercises that isolate the thumb, fifth finger, and reduced intervals prepare you for performing various kinds of tremolos with ease.
Tremolo Topics
Combining the vibrato technique with three-dimensional fundamentals allows you to perform tremolos continuously and musically, without fatigue.
Trills
Trill Preparation
Foundational elements, including the quiet hand, preparatory lift and drop, 2- and 3-note slurs, released fingers, and understanding the soundpoint, are applied for effortless trills.
Trills on Five or More Notes
Mastering exercises on five notes allows you to proceed to playing more notes, leading to continuous trills without effort.
Left-Hand Trills and Using Fingers 1 and 3
This subunit focuses on a variety of trills in the left hand plus special emphasis on the 1-3 trill in the right hand.
Master Classes on 3-5 Trills
The 3-5 trill receives special attention here.
Basic Trill Exercises
Following review of the main trill combinations and common problems, an option to incorporate the vibrato technique in trills from the outset is presented.
Scales
Three-Dimensional Principles in Scales, Part 1
Common scale problems are juxtaposed with three-dimensional shaping and Chopin’s preferred starting point for scales.
Three-Dimensional Principles in Scales, Part 2
Continuous alignment adjustments and three-dimensional principles, including good preparation and follow-through and the quiet hand, are contrasted with the common problem of curling the 5th finger.
Released Fingers and Adjusting for the Turnaround
Three-dimensional shaping in various key combinations leads to effective execution of the turnarounds in scales.
Scale Fundamentals in B Major
The B Major scale in the right hand is the ideal starting point to incorporate a wide range of three-dimensional elements before progressing to all other scales.
Keyboard Topography
Understanding the relationship of black and white keys to each other within each major scale leads to better coordination in all keys.
Shaping and Momentum in the Left Hand, in D-Flat Major
The D-Flat Major scale in the left hand is the ideal starting point to master three-dimensional scalar shaping before progressing to all other scales.
The Turnaround
Focusing on the turnaround figures in each scale, hands alone, leads to better coordination in other technical movements and in repertoire.
Playing Together in Ensemble
Playing precisely with hands together can be greatly improved with these exercises.
Exercises for Speed and Evenness
Two effective practice strategies include playing with accents and using different rhythms in short groups.
Practicing for Speed Using the Metronome
The metronome may be used as an aid to achieving more fluent scales when all previous steps are mastered.