Taught by renowned instructor
Rebecca Penneys
Join noted American pianist Rebecca Penneys for a wide-ranging look at the fundamental concepts that underpin expressive and fluent piano playing. Based in part on her early training as a dancer, Penneys reveals the inextricable nature of physicality and expressivity — or, as she puts it, “motion and emotion” at the piano. Penneys begins by describing four basic principles of piano technique: staying close to the keys to aid all single-note playing; rotation in scales; “port de bras”-like use of the arms in arpeggios; and efficient positioning in chords and octaves. Each of these ideas helps to minimize strain and make beautiful playing possible (and even easy). From the harpsichord to the pianos of Chopin and Liszt’s day, insights gleaned from historic instruments, influence how we play the modern piano: changes in physical positioning, fingering, and palette of sound. These adjustments are part of the task of the pianist, molding the voice of the piano – any piano – to create the desired soundscape. Penneys’ tips for “bending” the sound help achieve a smooth, singing legato on different instruments by reducing noise from the piano mechanism (hint: use your upper arm to smooth out and slow down the keystrokes). Penneys closes her lesson by exploring “motion and emotion.” Physical composure has a direct effect on the character of the music: if you feel cramped or artificially constrained, the music will as well. She discusses the painterly art of finger-pedaling, as if holding onto these beautiful sonorities — as well as the opposite: the releases necessary to keep music going forward! Peppered throughout are anecdotes of memorable encounters with great figures like Arthur Rubinstein and Oliver Sacks, all attesting to the remarkable power of physical expressivity.
The Voice of the Piano
Join noted American pianist Rebecca Penneys for a wide-ranging look at the fundamental concepts that underpin expressive and fluent piano playing. Based in part on her early training as a dancer, Penneys reveals the inextricable nature of physicality and expressivity — or, as she puts it, “motion and emotion” at the piano.
Penneys begins by describing four basic principles of piano technique: staying close to the keys to aid all single-note playing; rotation in scales; “port de bras”-like use of the arms in arpeggios; and efficient positioning in chords and octaves. Each of these ideas helps to minimize strain and make beautiful playing possible (and even easy).
From the harpsichord to the pianos of Chopin and Liszt’s day, insights gleaned from historic instruments, influence how we play the modern piano: changes in physical positioning, fingering, and palette of sound. These adjustments are part of the task of the pianist, molding the voice of the piano – any piano – to create the desired soundscape. Penneys’ tips for “bending” the sound help achieve a smooth, singing legato on different instruments by reducing noise from the piano mechanism (hint: use your upper arm to smooth out and slow down the keystrokes).
Penneys closes her lesson by exploring “motion and emotion.” Physical composure has a direct effect on the character of the music: if you feel cramped or artificially constrained, the music will as well. She discusses the painterly art of finger-pedaling, as if holding onto these beautiful sonorities — as well as the opposite: the releases necessary to keep music going forward!
Peppered throughout are anecdotes of memorable encounters with great figures like Arthur Rubinstein and Oliver Sacks, all attesting to the remarkable power of physical expressivity.
Professor Emeritus at the Eastman School of Music, Rebecca Penneys is a recitalist, chamber musician, orchestral soloist, educator, and adjudicator, known for her unique pianistic vision.
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