Updated: Aug 11, 2019
After 5 sessions we have had a good summary about how the 5 Scaramuzza movements work.
Finger movement We described how the finger movement is defined and polished, starting from the table exercise and finishing with Czerny Op. 740 No. 1 Using the table exercise is fundamental for the pursue of total relaxation of those muscles which are not directly involved in the finger movement. It is advisable to go back to that exercise on a daily basis for at least the first couple months, until we confidently develop the skill of delivering all the arm weight to the tip of our fingers. Actually the first step of the exercise, in which we just direct the weight of our arms to the edge of our hands, is very important and should be paid special attention. It is easy to fly through the process leaving parts of the exercise undeveloped; unfortunately, it is this attitude the one which is going to certainly lead us to fail in incorporating the technique properly. My advice to all our last master-class attendees is to review the table exercise and, only when this is perfectly well handled, move into exercising the Scaramuzza chart. We should truly feel the full arm weight and the power of harnessing its mass before moving into learning any other of the five movements.
Forearm movement I’ve seen a lot of confusion when trying to differentiate this moment from the arm movement. We need to remember the role of the finger moment is partially preserved in terms of that they will still work like springs, with the only difference that the forearm will take advantage of this action as a trigger to initiate its very self-motion. The application of this movement is quite clear:
Starting of the piece
Fairly slow paced repeated notes
Fairly slow paced and quite massive octaves or dual notes (fifths, etc.)
It is important to note all these are just generalizations aimed to start introducing you to the practice of applying the five pianistic movements in the clearest way possible.