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Joined: Aug 2001
Posts: 14
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OP
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Joined: Aug 2001
Posts: 14 |
Can somebody explain to the technique of finger-tapping which Glenn Gould employed?
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Joined: May 2001
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Yikes! 10000 Post Club Member
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Yikes! 10000 Post Club Member
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Finger-tapping or finger-taping?
BruceD
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Estonia 190
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Joined: Jul 2001
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Ah yes!! I know all about this "the art of finger tapping!"
Here is what a book about my lovely Glenn says about this subject:
Finger tapping is a lowly, obsessive and cultish excersise for acquiring absolute eveness and ease in tricky passage work.
It eliminates excess motion in the hand and ensures intimate tactile connection with the pattern in question. I will explain the practice in its simplest application. Take the notes D, E, F sharp , G and A, for which the right hand fingering is thumb, 2, 3, 4 5. The hand position is the natural one assumed when the arm and hand hang relaxed from the shoulder. Rest the fingers on those notes. The left hand then tapes the fingers successively to the bottom of the keys. The right fingers are boneless; they reflex from keybed and then return to original position. The motion should also be as fast as possible. The second stage is to play the notes with a quick staccato motion. This is a slow practice with each note being seperated by two seconds of silence.
from Glenn's greatest admirer
Zeldah
Glenn Gould in regards to music:
The problem begins when one forgets the artificiality of it all, when one neglects to pay homage to those designations that to our minds-to our reflect senses, perhaps-make of music an analyzable commodity. The trouble begins when we start to become so impressed by the strategies of ours systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but a very small security against the void of negation which surrounds it.
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Joined: Jul 2001
Posts: 276
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Ps.) I have a picture of Glenn doing this. If you would like to see just ask me, and I'll post it.
Glenn Gould in regards to music:
The problem begins when one forgets the artificiality of it all, when one neglects to pay homage to those designations that to our minds-to our reflect senses, perhaps-make of music an analyzable commodity. The trouble begins when we start to become so impressed by the strategies of ours systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but a very small security against the void of negation which surrounds it.
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Joined: Jun 2001
Posts: 5,509
5000 Post Club Member
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please post it, Zelda. i am having trouble picturing what gould described.
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Joined: Jul 2001
Posts: 276
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I'm not sure if this will help, but here is an image. http://www.hanson.net/users/zeldah/GlennGould49.gif And while I'm at it, I'll give another beautiful picture of Glenn.  http://www.hanson.net/users/zeldah/Image20.jpg
Glenn Gould in regards to music:
The problem begins when one forgets the artificiality of it all, when one neglects to pay homage to those designations that to our minds-to our reflect senses, perhaps-make of music an analyzable commodity. The trouble begins when we start to become so impressed by the strategies of ours systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but a very small security against the void of negation which surrounds it.
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Joined: Jul 2001
Posts: 3,857
3000 Post Club Member
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3000 Post Club Member
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tap, tape, schmape... After seeing the picture it's become clearer that the method involves tapping the right fingers with the left. Tapping ... The left hand then taps the fingers ...
Although taping the fingers sounds a bit far fetched, I remember reading that Schuman once rigged his fingers up to the hammers with string. Unfortunately, it did some real damage to his hand.
"Hunger for growth will come to you in the form of a problem." -- unknown
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Joined: Jul 2001
Posts: 276
Full Member
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Full Member
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Ha! Geniuses are awesomely psycho.
Glenn Gould in regards to music:
The problem begins when one forgets the artificiality of it all, when one neglects to pay homage to those designations that to our minds-to our reflect senses, perhaps-make of music an analyzable commodity. The trouble begins when we start to become so impressed by the strategies of ours systematized thought that we forget that it does relate to an obverse, that it is hewn from negation, that it is but a very small security against the void of negation which surrounds it.
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