Pour ceux qui veulent progresser, ou par curiosité, vous trouverez forcément quelque chose qui vous interesse ci dessous.
Et tant pis pour ceux qui rejette le tout.
Chapter 1: Piano Technique
I Introduction
I.1 Objective
I.2 What is Piano Technique?
I.3 Technique, Music, and Mental Play
I.4 Basic Approach, Interpretation, Musical Training, Perfect Pitch
II Basic Procedures for Piano Practice
II.1 The Practice Routine
II.2 Finger Positions
II.3 Bench Height and Distance from Piano
II.4 Starting a Piece: Listening and Analysis (Fur Elise)
II.5 Practice the Most Difficult Sections First
II.6 Shortening Difficult Passages: Segmental (Bar-by-Bar) Practice
II.7 Hands Separate Practice: Acquiring Technique
II.8 Continuity Rule
II.9 Chord Attack
II.10 Gravity Drop, Chord Practice, and Relaxation
II.11 Parallel Sets
II.12 Learning, Memorizing, Mental Play
II.13 Velocity, Choice of Practice Speed
II.14 How to Relax
II.15 Post Practice Improvement (PPI)
II.16 Dangers of Slow Play - Pitfalls of the Intuitive Method
II.17 Importance of Slow Play
II.18 Fingering
II.19 Accurate Tempo and the Metronome
II.20 Weak Left Hand; Using One Hand to Teach the Other
II.21 Building Endurance, Breathing
II.22 Bad Habits: A Pianist's Worst Enemy
II.23 Damper Pedal
II.24 Soft Pedal, Hammer Voicing and Physics of the Piano Sound
II.25 Hands Together and Mental Play
II.25.1 Beethoven's Moonlight, 1st Movement
II.25.2 Mozart's Rondo Alla Turca from Sonata K300 (301)
II.25.3 Chopin's Fantaisie Impromptu
II.26 Summary
III Selected Topics in Piano Practice
III.1 Tone, Rhythm, Legato, Staccato
III.1.1 What is Good Tone?
III.1.1.1 The Basic Keystroke, Pianissimo, Fortissimo
III.1.1.2 Tone: Single versus Multiple Notes
III.1.2 What is Rhythm? (Beethoven's Tempest, Op.31, #2, Appassionata, Op. 57)
III.1.3 Legato, Staccato
III.2 Cycling (Chopin's Fantaisie Impromptu)
III.3 Trills & Tremolos
III.3.1 Trills
III.3.2 Tremolos (Beethoven's Pathetique, 1st Mvmnt)
III.4 Hand, Finger, Body Motions for Technique
III.4.1 Hand Motions: Pronation, Supination, Thrust, Pull, Claw, Throw, Flick, Wrist
III.4.2 Playing with Flat Fingers
III.4.3 Body Motions
III.5 Playing Fast: Scales, Arpeggios and Chromatic Scales
III.5.1 Scales: Thumb Under, Thumb Over
III.5.2 The TO Motion, Explanation and Video
III.5.3 Practicing TO, Speed
III.5.4 Scales: Origin, Nomenclature, and Fingerings
III.5.5 Arpeggios (Chopin's FI, Cartwheel Motion, Finger Splits)
III.5.6 Thrust and Pull, Beethoven's Moonlight, 3rd Movement
III.5.7 Thumb: the Most Versatile Finger; Examples of Scale/Arpeggio Practice Routines
III.5.8 Fast Chromatic Scales
III.6 Memorizing
III.6.1 Why Memorize?
III.6.2 Who can, What to, and When to, Memorize
III.6.3 Memorizing and Maintenance
III.6.4 Hand Memory
III.6.5 Starting the Memorizing Process
III.6.6 Reinforcing the Memory
III.6.7 Practicing Cold
III.6.8 Slow Play
III.6.9 Mental Timing
III.6.10 Establishing Permanent Memory -- Mental Play
III.6.10.1 Music Memory
III.6.10.2 Photographic Memory
III.6.10.3 Keyboard Memory -- Mental Play
III.6.10.4 Theoretical Memory
III.6.11 Maintenance
III.6.12 Sight Readers versus Memorizers: Learning Bach's Inventions
III.6.12.1 Inventions #1, #8, #13
III.6.12.2 Quiet Hands
III.6.12.3 Sinfonia #15
III.6.13 Human Memory Function; Music = Memory Algorithm
III.6.14 How to Become a Good Memorizer
III.6.15 Summary
III.7 Exercises
III.7.1 Introduction: Intrinsic, Limbering, and Conditioning Exercises
III.7.1.1 Fast versus Slow Muscles
III.7.2 Parallel Set Exercises for Intrinsic Technical Development
III.7.3 How To Use The Parallel Set Exercises (Beethoven's Appassionata, 3rd Movement)
III.7.4 Scales, Arpeggios, Finger Independence and Finger Lifting Exercises
III.7.5 Playing (Wide) Chords, Finger/Palm Spreading Exercises
III.7.6 Practicing Jumps
III.7.7 Stretching and Other Exercises
III.7.8 Problems with Hanon Exercises
III.7.9 Practicing for Speed
III.7.9.1 Speed Stroke, Relaxation
III.7.9.2 Other Speed Methods
III 7.9.3 Speed Walls
III.8 Outlining (Beethoven's Sonata #1, Op.2, #1)
III.9 Polishing a Piece - Eliminating Flubs
III.10 Cold Hands, Slippery (Dry/Sweaty) Fingers, Illness, Hand Injury (Carpal Tunnel), Ear Damage (Tinnitus)
III.11 Sight Reading
III.12 Learning Relative Pitch and Perfect Pitch (Sight Singing)
III.13 Videotaping and Recording Your Own Playing
III.14 Preparing for Performances and Recitals
III.14.1 Benefits and Pitfalls of Performances/Recitals
III.14.2 Basics of Flawless Performances
III.14.3 Practicing for Performances
III.14.4 Practicing Musically
III.14.5 Casual Performances
III.14.6 Performance Preparation Routines
III.14.7 During the Recital
III.14.8 That Unfamiliar Piano
III.14.9 After the Recital
III.15 Origin and Control of Nervousness
III.16 Teaching
III.16.1 Types of Teachers
III.16.2 Teaching Youngsters, Parental Involvement
III.16.3 Memorizing, Reading, Theory, Mental Play, Absolute Pitch
III.16.4 Some Elements of Piano Lessons – Performance Skills
III.16.5 Why the Greatest Pianists Could Not Teach
III.17 Uprights, Grands, & Electronics, Purchasing and Care
III.17.1 Grands, Uprights, or Electronics?
III.17.2 Electronic Pianos
III.17.3 Uprights
III.17.4 Grands
III.17.5 Purchasing an Acoustic Piano
III.17.6 Piano Care
III.18 How to Start Learning Piano: Youngest Children to Old Adults
III.18.1 Do You Need a Teacher?
III.18.2 Starter Books and Keyboards
III.18.3 Beginners: Age 0 to 65+
III.19 The "Ideal" Practice Routine (Bach's Teachings and Invention #4)
III.19.1 Learning the Rules
III.19.2 Routine for Learning a New Piece (Bach Inv. #4)
III.19.3 "Normal" Practice Routines and Bach's Teachings
III.20 Bach: the Greatest Composer and Teacher (15 Inventions and their parallel sets)
III.21 The Psychology of Piano
III.22 Summary of Method
IV Music, Mathematics, and Research
IV.1 Can We All be Mozarts?
IV.2 Scientific Approach to Piano Practice
IV.2.1 The Scientific Method
IV.2.2 Principles of Learning
IV.3 Why Is Intuition So Often Wrong?
IV.4 Mozart's Formula, Beethoven and Group Theory
IV.5 Learning Rate Calculation (1000 Times Faster!)
IV.6 Future Research Topics
IV.6.1 Momentum Theory of Piano Playing
IV.6.2 The Physiology of Technique
IV.6.3 Brain Research (HS vs HT Play, etc.)
IV.6.4 The Future of Piano
IV.6.5 The Future of Education
Je suis perplexe sur ce pianiste qui a des possibilités techniques assez évidentes, bien plus que moi. C'est marrant que tu en parles; en ce moment je travaille la valse op.42 en la bémol de Chopin, et en cherchant hier sur YT je tombe sur sa vidéo (où il joue la valse sans expliquer le travail dessus). Et alors là, je ne sais pas quoi penser. Voilà un pianiste capable de jouer la 1ère ou la 4ème étude op.10, mais qui "ne sait pas " jouer cette valse... Encore un truc que je ne comprends pas... 
).
Pareil concernant les conseils donnés en toute bonne foi : crois-tu que nous jubilons derrière nos écrans à donner à dessein des conseils qu'on sait mauvais et s'imaginant l'interlocuteur luttant en essayant de les appliquer et n'en retirant aucun bénéfice, que nous ricanons tout seuls en imaginant l'autre en train de souffrir à travailler MS sans résultat ?
Au bout de moment, ça suffit, je comprend ce qu'on veut dire, ce n'est pas en lisant en plusieurs variations que "MS est LE SEUL MOYEN" que je serais convaincue...
Faudrait plus de temps libre... 