Piano Technique - Anatomy of the Hand and Its Relevance to a Fluent Finger Technique

Piano Technique : Anatomy of the Hand and its relevance to a fluent finger technique

For a full year Graham was confined c onfined to the small practice studio and not allowed to make a single performance. During this period he learnt the piano technique developed by Franz Liszt and passed on and kept alive in France through renown teachers like Yvonne Loriod and Germaine Mounier. The results were nothing less than spectacular : the birth of a rich and beautiful crystal clear tone, an effortless fluidity and a rhythmic capability with which he could master even the most demanding and complex Messiaen compositions. Years later I myself had the great fortune to learn this wonderful technique from Graham , be it at a much more modest level of expectation and competence. As a relative beginner it took me about 3 years (instead of 1) to develop the technique, with greatly pleasing results in terms of touch, fluency and tone. Being a creative, research oriented thinker, I could follow and acknowledge the various stages of development I went through and recognise the results. But the question for me always remained : I understand what to do and how to do it, but why is this so ? For a full year I kept searching for the answer, questioning professionals from the medical and physiotherapy fields and roaming through various books and articles. The answer which I finally arrived at is as simple as it is conclusive. I have always believed that understanding is the greatest motivator. Once you understand un derstand why you should practice this or do that, you become deeply motivated to follow through. This is the basis for both my Piano Technique Course and my Saxophone Course. Course. For the Piano the secret to a fluent technique and strong, s trong, crystal clear tone, lies in the palm of your hand, as I will explain to you below.

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PS 2 - The Flexor Digitorium System Finger movements are largely controlled by two muscle systems. The first system, the Flexor Digitorium system, is located in the upper part of the forearm near the elbow. These muscles extend with long tendons that run along the forearm, under the wrist all the way to the knuckles and finger joints. This muscle system enables us to have a firm hand grip, strong enough to carry a suitcase, or even hold our entire body weight when hanging from a horizontal bar (or tree branch). This Flexor Digitorium system consists of : q

the Flexors Digitorium Profundus, which run from the elbow along the lower

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For a full year Graham was confined c onfined to the small practice studio and not allowed to make a single performance. During this period he learnt the piano technique developed by Franz Liszt and passed on and kept alive in France through renown teachers like Yvonne Loriod and Germaine Mounier. The results were nothing less than spectacular : the birth of a rich and beautiful crystal clear tone, an effortless fluidity and a rhythmic capability with which he could master even the most demanding and complex Messiaen compositions. Years later I myself had the great fortune to learn this wonderful technique from Graham , be it at a much more modest level of expectation and competence. As a relative beginner it took me about 3 years (instead of 1) to develop the technique, with greatly pleasing results in terms of touch, fluency and tone. Being a creative, research oriented thinker, I could follow and acknowledge the various stages of development I went through and recognise the results. But the question for me always remained : I understand what to do and how to do it, but why is this so ? For a full year I kept searching for the answer, questioning professionals from the medical and physiotherapy fields and roaming through various books and articles. The answer which I finally arrived at is as simple as it is conclusive. I have always believed that understanding is the greatest motivator. Once you understand un derstand why you should practice this or do that, you become deeply motivated to follow through. This is the basis for both my Piano Technique Course and my Saxophone Course. Course. For the Piano the secret to a fluent technique and strong, s trong, crystal clear tone, lies in the palm of your hand, as I will explain to you below.

(Down - Up - Top Top))

PS 2 - The Flexor Digitorium System Finger movements are largely controlled by two muscle systems. The first system, the Flexor Digitorium system, is located in the upper part of the forearm near the elbow. These muscles extend with long tendons that run along the forearm, under the wrist all the way to the knuckles and finger joints. This muscle system enables us to have a firm hand grip, strong enough to carry a suitcase, or even hold our entire body weight when hanging from a horizontal bar (or tree branch). This Flexor Digitorium system consists of : q

the Flexors Digitorium Profundus, which run from the elbow along the lower



arm, through the 'carpal canal' under the wrist, to the 1st finger joint (nearest the finger tip) of each finger. q

q

the Lumbricals Lumbricals,, branch off from the Flexors Digitorium Profundus at a point within the hand palm and run to each knuckle joint.

the Flexors Digitorium Superficialis, also run from the elbow, along the forearm, under the wrist, to the 2nd finger joint of each finger. (They split near the end to let the Flexor Profundus tendon pass through to the 1st finger joint.)

Above muscles are used to curve (and close) the fingers of the hand. To do this however another set of muscles (the Flexor & Extensor Carpi) must hold the wrist firm (therefore stiffen the wrist), otherwise the Flexor Digitorium muscles would roll up the fingers, hand and wrist like a bamboo curtain.



(The Extensors Digitorium muscles (not shown in above diagram) are used to straighten the finger and knuckle joints, opening the hand. These muscles and their tendons run from the elbow, over the wrist and the back of the hand to connect with the knuckle and finger joints via the Extensor Expansion sheet, that extends over the back of each finger. More about this muscle system below.)

The Flexor Digitorium muscle system is very powerful and we use it continuously for most of our finger movements. However these muscles are not suitable for a good piano finger technique, because : 1. the muscles are located largely outside the hand , too far away from the

required delicate finger action. 2. they cause a degree of stiffening of the wrist . 3. the key stroke becomes a pushing action rather than a freely

rebounding gravity stroke. This results in a lack of tone quality, resonance, clarity and fluency . 4. excessive use of these muscles in piano playing can easily lead to

repetitive strain injury (rsi) and inflammation of the wrist.

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PS 3 - The Interossei The second muscle system controlling finger movement is located entirely within the hand. It consists of the Palmar and Dorsal Interossei muscles. These are grafted on either side of the metacarpal bone (palm bone) for each of the four fingers and run to the finger bone (phalange) just past each knuckle.



Used individually the Palmar interosseus pulls the finger sideways in one direction, the Dorsal interosseus sideways in the opposite direction.



When used simultaneously the Palmar and Dorsal Interossei flex the knuckle joint forward (or, when the hand is in a horizontal position, downward). Most importantly these muscles are located entirely within the hand palm, and therefore can flex the knuckle joint (and achieve a proper finger action) without stiffening the wrist. For a good finger action in piano playing we must therefore use the Interossei muscles and flex the fingers from the knuckle joints. This leaves the wrists relaxed and flexible. There is however a problem In every day finger movement the Interossei play only a secondary and supportive role in flexing the knuckles. The prime movers in knuckle flexion are the Lumbricals , for two reasons : 1. When the knuckle joint is fully extended the Interossei are parallel to, and in line with the palm and finger bone.

In this position the Interossei cannot start to flex the knuckle joint forward (or downward). The Lumbricals approach the finger bone at a larger angle than the Interossei. This means that they can flex the knuckle joint even when the knuckle joint is fully extended.

The Lumbricals are therefore the starter muscles for the knuckle flex action. 2. The Lumbricals, being an offshoots of the powerful Flexors Digitorium Profundus are much stronger than the Interossei muscles.

We therefore rely on the Lumbricals to do most of the knuckle movements throughout our daily activities, including our finger actions on the keyboard . http://www.jazclass.aust.com/piano/default.htm (6 di 9)26/10/2004 14.05.37


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PS 4 - The aim of good Piano Practice It now becomes clear that in order to develop a good finger technique on the piano it is necessary to reverse nature. You must upgrade the Interossei from weak supporting muscles to become the Prime movers and learn to trust and rely on them in that dominant function. As this starts to happen the role of the Flexors Digitorium and Lumbricals will gradually diminish to a secondary function involved mainly when special play techniques require this.

To develop the Interossei muscles you must : 1. Always play with a good hand position. The knuckle joint is not straight but slightly flexed.

In this position the Interossei can function as starter muscles. 2. Develop Interossei muscle strength. Through regular technique practice as outlined in my Piano Technique Course.

Gradually the Interossei will become stronger. You will notice this by a most peculiar feeling within the palms of your hands : the interossei, as they become thicker, are pushing out the palm bones widening your hands. Once the interossei have become strong enough to support the hand and arm it is time for the flexors and lumbricals to phase out their action. This http://www.jazclass.aust.com/piano/default.htm (7 di 9)26/10/2004 14.05.37


mental step of trusting your fingers was for me at the time the most difficult process. Sooner or later however the brain will get the message and gradually diminish and relax the flexors and let the interossei do the work . This then frees up the wrist, enabling the development of tone, resonance, clarity, great evenness and fluency in your playing. Just playing piano regularly does not necessarily strengthen the Interossei muscles. But sustained regular practice of the right exercises in the correct way will.

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PS 5 - Fundamental Guidelines Good piano technique maximises the use of two sets of muscles. 1. The Interossei, to support the weight of the hand, arm or body and to assist when required to the gravity keystroke.

2. the Extensors Digitorium, to lift the fingers off the keyboard after they have played each note. (Extensor Digitorium actions do not stiffen the wrist, as the natural weight of the hand prevents any upwards flexing or instability of the wrist.)

For a good finger technique follow these simple guidelines : 1. Keep the hands always over the keyboard (not in front of it) with the

thumbs pointing downwards , so that the weight of the hand is supported by the fingers (Interossei). 2. Keep the hands balanced on the fingers , with a slight forward

pressure towards the piano. (This keeps the finger joints locked in position.)



Never pull the hand backwards , for this either causes the fingers to collapse, or, in an attempt to prevent this, will bring the Flexor Digitorium muscles into action causing stiffening of the wrist. 3. Use the knuckle joints for all finger action. 4. Use gravity, viz. the natural drop of the finger, hand or arm, as the

main source of energy .

It is most useful to have some understanding of the the muscle actions for a good finger technique. However do not become obsessive about it while practising. Just follow the simple instructions, lesson schedules and exercises provided in my Piano Technique Course (at your own pace) and things will fall into place and develop naturally. (Up - Top - Jazclass Links)

© 2004 Michael Furstner (Jazclass)


JAZCLASS - Piano Lessons, keyboard lessons, learn to play piano on CD-ROM

Course on CD-ROM PIANO TECHNIQUE 1. What about Technique ? 2. The method of Franz Liszt 3. What a Good Technique achieves 4. Outline of the Piano Technique Course 5. For Absolute Beginners FREE Sample Lesson Prices - How to Order Keyboard related Websites Jazclass Links

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PT 1 - What about Technique ? The very word technique (or 'method') suggests a cold, mechanical and rather unmusical activity. Some students regard technique as something that can only stifle their creativity, and use this as a convenient excuse to ignore this aspect completely. The opposite is of course true. A poor instrumental technique will restrict your creative potential enormously. Technique is just a label. Behind it hides one of the most intimate relationships a musician can ever have.

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When a student comes face to face with his instrument for the first time the two meet as complete strangers. The immediate objective is to get to know each other and to start building a winning team. But in order to come together change is required. q

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Each instrument has its unique soul and temperament (perhaps reflecting that of it's original maker ?). However an instrument does not have a mind or a living body, and therefore can not change its ways. It is therefore up to the student to change. This change is achieved through the practice and development of a good technique. As your technique practice progresses you gradually become a different person. Certain muscles will grow, new coordination skills and thought processes will develop and your attitude towards your instrument and towards music in general will change substantially. Steadily you move closer to the ideal point, where the piano and you become one united instrument through which you express yourself with a unique, personal musical voice

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PT 2 - The method of Franz Liszt



Franz Liszt is widely regarded as the founder of play technique for the modern piano instrument. Liszt himself studied with the legendary teacher Carl Czerny, who in turn was a student of Beethoven. They represent a musical 'bloodline' through which piano technique expertise was passed on in time. Franz Liszt spent part of his earlier life in Paris where he had a great influence. His piano technique method lives on in that city today through two of the world's leading piano teachers, Yvonne Loriod (widow of the composer Olivier Messiaen) and Germaine Mounier.

My own teacher, Dr. Graham Williams, was taught by both these ladies when he studied at the Paris Conservatoire and the Ecole Normale de Music in Paris.

The Jazclass Piano Technique Course is an extension of the modern Liszt method. It incorporates : 1. Graham Williams' instructions as published in our jointly written book Scales & Arpeggios for the Jazz Pianist, and my six years of piano study with him. 2. A uniqe analysis of the anatomy of the hand as it applies to the finger motion on the piano. Its conclusion is easy to grasp and stunningly revealing as to how you should play the piano. (To my knowledge this is not explained in any other textbook or course available.) Insight into this vital aspect will boost your motivation to practise, and will be the guiding principle in developing a correct finger technique. 3. A series of technique exercises written for this Course - and detailed instruction on how to play them - to develop a superior finger technique. They are similar to exercises by Liszt, Czerny, Poisot, Clementi, etc., but feature Jazz oriented harmonies. References for additional famous classical material are also included. Be aware : the best exercises in the world are only effective if you play them correctly! (I learned this myself the hard way many years ago, and as a result wasted about 2 years of valuable practice time.)




PT 3 - What a Good Technique achieves A good piano technique will : 1. produce a crystal clear, focussed, resonant sound

Most piano players push the keys down. This produces either a crude blunt sound or a rather weak and thin tone. Good pianists use the gravity force from the weight of their fingers, hand and arm. This produces (on the acoustic piano) an enormous difference in resonance and overall tone quality, often not realised by the novice student. 2. enable cleanly articulated even flowing passages at any speed

Nothing sounds laboured, muffled or irregular. All notes can be heard individually, but at the same time are fluently strung together in an apparently effortless manner. 3. avoid repetitive strain injury (rsi)

The tendons of the flexor digitorium muscles move through the carpal tunnel under the wrist. Poor technique relies heavily on these muscles and often causes inflammation of the carpal tunnel and other muscle damage. Development of instrumental technique is a life-long process, but provided you are on the right track you will always continue to improve. This Course can place you firmly on that track. q

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A relative beginner will have developed a good technical foundation after about 3 years of practice. A more experienced player will have confidently converted to this professional technique within about one year of practice.



Oscar Peterson is a good example of a famous Jazz pianist with an outstanding technique (learnt in Paris). Other well known Jazz pianists who studied in Paris include John Lewis and of course Jacques Loussier.


PT 4 - Course Outline The Piano Technique Course is distributed on CD-ROM, suitable for both PC and Macintosh computers. Simply copy and paste the 'Piano Technique' folder from the CD onto your computer, open the access file in the folder with your web browser (without going online), and all lessons are at your fingertips.

You can order this course Secure ONLINE or by email or Airmail letter.

The Piano Technique Course assumes that you have some basic music reading skills and are playing or studying the piano already (from 1 year up to perhaps a lifetime). It is recommended that you practise on an acoustic piano, or (second best) an electric keyboard with weighted keys. This will enable proper development of essential playing muscles.

The first two lessons present an easy to understand clear concept of what a good piano technique is and why that is so. They will change the way you approach your piano playing forever. The following lessons deal with all essential types of exercises to develop a good technique. They explain what to practise and how to practice and also include audio demos (midi files) for every exercise in the Course.

The Course contains a Practice Folder (to print out) with 75 pages of scales, chords, exercises and songs. Also included are a choice of daily practice schedules and a long term program to guide your progress in an organised manner.



The Lesson topics are : q

Introduction

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Lesson 1 - Concept

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Lesson 6 - Fixed Hand Position Exercises

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Lesson 7 - Fluency Exercises

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Lesson 8 - Arpeggios

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Lesson 9 - Digital Patterns

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Lesson 10 - Chords

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Songs

Lesson 2 - Anatomy Lesson 3 - Warm up Exercise Lesson 4 - Scale Practice 1 Lesson 5 - Scale Practice 2

There are Play-a-Long midi file tracks for all songs, a Logbook to record your progress, and a Subject Index for quick reference. (Down - Up - Top - Jazclass Links)

PT 5 - For Absolute Beginners This Course assumes that you have some basic music reading skills and are playing the piano already (from 1 year up to perhaps a lifetime). If you are an absolute beginner I recommend you start the first six months with a basic beginners course such as : John Brimhall's Young Adult Piano Course Book 1 and Book 2 (Publ. Warner Bros.) or similar.

These combine the very first piano exercises, reading music and some simple chord playing. You can include aspects of the Piano Technique Course , starting with the warm up exercise from the first day of your practice. Other elements of the course can be gradually introduced over the following 6 months. http://www.jazclass.aust.com/pianot.htm (6 di 7)26/10/2004 14.06.22


If you require further help : just ask me.

Michael ( Up - Top - Links)

Copyright © 2004 Michael Furstner. All rights reserved.


Piano Technique 2 : Flexors Digitorium, Lumbricals and Interossei

Flexors Digitorium, Lumbricals and Interossei (of the left hand)

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Michael Furstner's Jazclass - LINKS PAGE

Michael Furstner's Jazclass - LINKS PAGE q

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Entry Page - Contents Page - Courses - About Jazclass - About Michael - Questions & Comments Midi Library - Notes on Notes - Profiles - Furstners - Links around the World - Note Terminology Free Lessons : Music Notation - Blues - Improvisation - Saxophone - Piano - Scales & Chords Rotating Lessons : Reading Music - Basic Theory - Jazz Theory - Woodshed - Songs - In Focus

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Visual Arts : Jazclass Galleries - Soul Portraits - Graphics - Lino cuts - Ceramics

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Special Interests : Contract Bridge Lessons - Travel tips for around Australia

From the Jazclass Shop 1. Jazclass Books : Blues Book - Chords Book 1 - Chords Book 2 - Scales & Arpeggios Book 2. Email Courses : Chords Basics - Blues Basics - Improvisation - Jazclass Improvisation Package 3. On CD-ROM : Jazz Theory - Jam Factory - Piano Technique - Reading Music - Rhythm Class - Saxophone

How to Order - Prices - SPECIALS - Secure ONLINE Orders - MAIL Orders - Orders by Email

Knowledge - Inspiration - Skill - Satisfaction JAZCLASS has provided trusted, reliable and superior online services since 1996, and is World renown for its unique courses suitable for musicians who wish to stand out from the crowd ! Jazclass Products List http://www.jazclass.aust.com/jazlinks.htm (1 di 2)26/10/2004 14.07.03

Michael Furstner's Jazclass - LINKS PAGE

Copyright © 2004 Michael Furstner.

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JAZCLASS : Jazz scales , Jazz lessons, learn to play Jazz Book by Michael Furstner

SCALES & ARPEGGIOS for the Jazz Pianist by Michael Furstner & Graham Williams - 72 pages With Tables of Scale - Chord combinations for improvisation on all instruments. (Now in its 3rd successful Edition.)

Suitable for ALL instruments How to Order - Prices - Jazclass Links

Contents 1. The Overtone Series 2. The Circle of Fifths 3. The Pentatonic Scales 4. The Blues Scale 5. The Major Scale and 6. 7. 8. 9. 10. 11. 12.

its modes The Bebop Scales The Harmonic minor Scale The Melodic minor Scale and its modes The Symmetric Scales Scales Overview Chords and Arpeggios Scale Rulers PIANO TECHNIQUE 1. Objective 2. Method 3. Practice

FINGERING CHARTS

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JAZCLASS : Jazz scales , Jazz lessons, learn to play Jazz Book by Michael Furstner

Dr.Graham Williams outlines in this book the professional piano technique as taught at the Conservatoire de Paris by Evonne Loriod, one of the world's leading piano teachers. The Charts show keyboard fingering for both right and left hand for 20 scales and 7 arpeggios in all keys. The Jazclass Music Library contains Play-a-Long midi file tracks for practice with the most important scales.

'Scales & Arpeggios for the Jazz Pianist' is suitable for all instruments. It includes keyboard fingerings for all scales, but the scales charts, explanations of the scales and the tables showing their uses in improvisation apply to (and are the same for) any instrument. It is therefore a most valuable resource and companion for every student of improvisation regardless his/her instrument.

(Top - Blues Bk - Chords Bk 1 - Chords Bk 2 - Orders - Jazclass Links)

Copyright © 2004 Michael Furstner.

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RESUME : Michael Furstner - Teacher of Jazz, Blues, Improvisation and Saxophone

Hello, I am Michael Furstner. Welcome to Jazclass. About Jazclass - Where do I Start ? - Thank You - About me - Links

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About Jazclass Jazclass has been online since October 1995 and continues to go from strength to strength. In recognition of its "cultural and artistic value" Jazclass was one of the first websites monitored and archived in its entirety by the National Library of Australia.

You can enjoy the Jazclass music lessons in four different ways. 1. Free lessons Online There are a range of songs, articles and lessons online. One new lesson is uploaded every 15 days. The main subjects are : Basic Theory - Jazz Theory - The Woodshed - Songs - Articles and Profiles Also : Learn to Read Music : 10 lessons to get you started, rotating each week In Focus : 10 lessons on a range of music topics for practice,

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rotating every 2 weeks Contract Bridge : 8 lessons on learning to play bridge (a hobby of mine), rotating every 2 weeks 2. Email Courses There are three Courses to choose from : Chords Basics - Blues - Improvisation 3. Six great Courses on CD-ROM In web style format, with the same look and approach as the Jazclass lessons online. Jam Factory - Jazz Theory - Music Notation - Piano Technique Rhythm Class - Saxophone 4. Three Jazclass books Chords Book 1 - Scales Book - Blues Book

PRICES - SPECIALS - HOW to ORDER


HELP! - Where do I start ?? First check out a few of the free Jazclass lessons online. This will give you a good idea of the approach used in all my books and courses. If you like what you see you may decide to purchase some of the Jazclass products. Here are a few scenarios to help you make the right selection. If this does not help drop me an email with your details and requirements. 1. "I play a little, not good at reading music, like to learn about chords and the blues". The Chords Basics and Blues Basics are ideal for you. You can alternate between the two courses : a Chords Lesson one week, a Blues lesson the next. This provides a good mix between theory and playing. Both Courses use note letter names for notation, which is very easy to follow, and the regular lesson schedule helps you to actually study and practise. (Optional extra or alternative, provided you can read music, are the Chords Book 1 and the Blues Book ) 2. "I like to learn Blues and Jazz, but am on a small budget". http://www.jazclass.aust.com/resume.htm (2 di 8)26/10/2004 14.08.29


The Blues Basics and Improvisation Email Courses would be your best choice. You receive one new lesson each week or each 14 days. This helps you to practise. Each Lesson includes at least one new song. 3. "I want to learn Jazz improvisation, and also more about music". The Jazclass Improvisation Package is just made for you. It consists of the Blues Basics and Improvisation Email Courses, the Jazz Theory, Jam Factory and Rhythm Class Courses on CD-ROM, plus the Scales & Arpeggios book for further reference. This gives you a very comprehensive resource to get right on top of it all. 4. "I have followed the Jazclass email courses. Now what ?!" You mean you are really ready for more punishment? Then try the new Jam Factory Course. Twenty more sessions for study and improvisation. Each session includes : r one new song - musical aspects of each song are analysed a new aspect to improve your improvisation skill is introduced, and r r a practice assignment for each week is provided. 5. "I want to improve my Instrumental Technique (Piano or Saxophone)". No matter how long you have played, 6 months or 30 years, the Piano Technique or Saxophone Course will change the way you relate to your instrument forever! These Courses provide you with a clear concept of what a good technique consists of and why that is so. It then outlines exactly what to practise and how to practise it. Extensive practice material for you to print out is included. (You can do the technique course at your own pace and combine it, if you like, with the Blues Basics or Improvisation Email Course.)

Jazclass Products List


Thank You Jazclass Supporters The ever increasing number of orders for all Jazclass Products enables me to spend more time on Jazclass and on writing new music education material. It also enables Jazclass to contribute financially to a very good cause, sponsorship of children from 3rd world countries through the World Vision Foundation. Thank you all Jazclass Supporters for making this possible.



Jazclass Sponsor Children 1. Sugunya Jansaku From Thailand - 14 years old girl Likes Foreign Languages and Running 2. Lauzi Haamonga From Zambia - 12 years old girl Likes Arithmetic and Group games

Sugunya

Lauzi

As Jazclass grows I hope to expand sponsorship to more children in various countries around the world in the future.

World Vision Sponsorship aims to provide better lives for many of the world's needy children, by changing their desperately poor living conditions.

Through the Child Sponsorship scheme World Vision provides a child and its community with a wide range of services such as : food - clean water - health care - schooling - education - vocational training adequate housing - management skills - revolving loan schemes - etc. For more information visit the World Vision website or contact them by email.

Australia . . . . Home


of Jazclass


Michael's Resume (Down - Up - Top - Links)

Student, Soldier, Scientist, Explorer and Business man I was born in Holland a long long time ago (in 1937 in fact) and studied Geology at Leiden University. I completed my MSc and 2 years compulsory army training as a commissioned officer in the Dutch Field Artillery, and then came to Australia in 1966. During the following 15 years I worked as a Geologist on mining-, civil construction- and research- projects throughout Australia and Papua New Guinea. I returned to Holland, after the sudden death of my father in 1981, to run the family business in http://www.jazclass.aust.com/resume.htm (5 di 8)26/10/2004 14.08.29


jewellery wholesale for 3 years.

Music student in Adelaide Upon my return to Australia in 1983 I completely switched direction in life, turning all my energy into full time music study. I enrolled at the Jazz Dept. of Adelaide University (formerly South Australian College of Advanced Education, 'SACAE') on saxophone and started private lessons on classical piano. Soon I started playing in small ensembles, Jazz bands and Concert bands. I practised and studied at Adelaide Uni. flat out for 6 years. My analytical skills, developed during my previous profession as a scientist, quickly started to focus on my new field of interest. This for better or for worse, has made me into a musician with a difference. Almost as much as music itself I enjoy understanding the principles that underlie music and instrumental technique. I am passionate about passing on my knowledge to those who want to learn.

My first Music books I published my first textbook 'Overtone Practice on the Saxophone' in 1986, followed by 'Scales and Arpeggios for the Jazz Pianist' in 1988. I wrote a 'Jazz Piano Syllabus' for the Australian Guild of Music and Speech (AGMS) in 1989, and a 'Jazz Keyboard Technique Syllabus' for the SACAE. in 1990. I also lectured on Jazz keyboard at the SACAE, Saxophone technique at the Rotterdam Conservatory in Holland, and did Jazz workshops for music teachers in South Australia, Western Australia and New South Wales.

Having a great time on the Sunshine Coast I moved to Queensland's Sunshine Coast in 1991, teaching private students on piano, sax, flute, clarinet, piano-accordion, Jazz and Improvisation. I wrote four more books in 1993 and 1994. These are the 'All About' music book series. New Editions were published in 1998. Early in 1997 I completed a new Jazz & Blues Keyboard Syllabus for the AGMS in Australia. This is a 4 unit course (Grades 4, 5, 6 and 7). It teaches the basic skills of Jazz, Blues and Improvisation. Since 1998 maintaining and improving Jazclass has become my full time occupation. I continue to write new lessons and songs for release online or publication on CD-ROM. Besides the current 4 books there are 3 email courses and 5 courses on CD-ROM available, and there is more to follow. I am also hosting a web page for my sister Wivica Furstner on Jazclass. Wivica is an Esoteric artist specialising in the most beautiful Soul Portrait paintings. Be sure to http://www.jazclass.aust.com/resume.htm (6 di 8)26/10/2004 14.08.29


have a look at them.

Travelling around Australia After 10 happy years at the Sunshine Coast I suddenly felt like a change and moved to tropical Darwin in 2001.

From November 2002 onwards I am camping and travelling by car around Australia, while maintaining Jazclass from my iBook and mobile office (a Mercedes Vito).

I will stay in the tropics (in Darwin, Broome or North Queensland) during the cool Southern Hemisphere winter months (April - October), and travel happily around to anywhere I fancy during the summers. I find travelling through the vast Australian outback always a unique experience. It gives me peace, a deeper connection with the Universe in which we live, inspiration and loads of renewed energy. Rest assured that throughout my travels I am online every day to maintain Jazclass, to answer your questions, and to serve the ever increasing number of happy and very http://www.jazclass.aust.com/resume.htm (7 di 8)26/10/2004 14.08.29


satisfied customers. I feel strongly that wherever I am during my travels you are always in spirit with me.

Michael. ( Up - Top - Links)

Copyright © 2004 Michael Furstner. All rights reserved.


Jazclass - GRAHAM WILLIAMS Resume

About Dr. Graham Williams Co-author of the Scales & Arpeggios Book and Contributor to the Piano Technique Course on CDROM

Graham Williams was born in Adelaide (South Australia) in 1945. He studied piano, music education and musicology at the University of Adelaide from 1964 to 1972. He graduated with a B.Mus.(Hnrs.) and Dip.Ed. in 1969, and, after receiving a Commonwealth Post Graduate Award completed his Ph.D. on the piano music of Olivier Messiaen in 1972.

In 1973 Graham was awarded a French Government Scholarship and continued his study of piano and music analysis in Paris, at the Paris Conservatoire and the Ecole Normale de Musique, for three years with Olivier Messiaen, Yvonne Loriod and Germaine Mounier. While in Paris he gave concerts and recorded for the French radio, and graduated from the Ecole Normale in 1976. After travelling through Europe and Asia he returned to Australia in 1978 and taught both at the University of Adelaide and the South Australian College of Advanced Education. He has given numerous concerts, lecture recitals, master classes and first performances in Australia, and has broadcast for Radio 5UV and the ABC. http://www.jazclass.aust.com/gw.htm (1 di 2)26/10/2004 14.09.01

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