BOOK BUY YOUTUBE INTRO PASSAGEWORK 4 Sections QUOTATIONS Bibliography AUTHOR
Following quotations by pedagogues and researchers are supported by The Golden Fingers Technique and are worked out in detail.

"Much of the time lost in music study could be saved if the elementary training of the pupil were made more comprehensive and more secure." Xaver Scharwenka

"It is only by maintaining the hand’s arch, coupled with the strength of the fingers, that the performer can support and apply the weight of the relaxed arm." Menahem Pressler
 
"Modern pianoforte teachers in many instances seem to make deliberate attempts to complicate the very simple matter of touch. In the final analysis the whole study of touch may be resolved into two means of administering force to the keyboard, i.e., weight and muscular activity. The amount of pressure brought to bear upon the keys depends upon the amount of arm weight and upon the quickness with which the muscles of the hand, forearm, full arm and back permit the key to struck." Ossip Gabrilowitsch

"Different muscular groups are able to be independent. Thus the fingers, the hand, and the forearm are each innervated while the upperarm is relaxed. The fingers become pillars of weight. A relaxed arm and a strong hand were crucial as with Breithaupt. But unlike Breithaupt, the Sieveking method called for very strong, very articulated fingers."  Paul Loyonnet

"Once a student learns to play well with a curved position, then it will be easy for him to use flat one when necessary. But to do the reverse is difficult and maybe even dangerous."  Pierre Barbison 

"Without an absolute command of legato, full control of melodic evenness is impossible. But once this physical command of evenness has been stilled in one’s system, the ability to control melodic evenness transfers easily to non-legato articulations. Various degrees of portato and staccato can now be employed without unwanted bumps ruining the melodic line. This is why legato is one of the main foundations of not only pianist’s but of any musician’s technique."  Alan Fraser 

"Control over dynamics is an important manifestation of cultivated touch." Boris Berman

"The movements of our limbs tend to be coupled so that the movement of one limb or joint limits the movement of the other. For example finger, hand, and arm movements are coupled. These and other interdependences between the limbs reduce the number of independant choices for the motor system when executing movements." L. Jänk

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Sight reading for pianists 
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Piano Bulletin 2011
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