The 'guide-mains'
An essential tool for teaching the technique of the BPS method is the 'guide-mains'.
Unlike in the world of music, top athletes use all possible aids/materials to take their performance to the next level. It is strange that in the professional piano world no thought is given to the use of training aids.
Yet... from the 19th century, in the tradition of Kalkbrenner, Chopin and Liszt, we know about the 'guide-mains'. This seemingly trivial thing is nothing less than the Holy Grail for pianists. The efficiency of the guide-mains will far exceed any pianist's expectations.
Overwhelming success
In the 19th century, the 'guide-mains' was an overwhelming success, but then unfortunately fell into oblivion for a long time. With the BPS method, the 'guide-mains' returns!
The way the 'guide-mains' is employed within the BPS method is a combination of 19th century tradition (wrist technique as described in "Liszt Pédagogue" and explained by V. Safonov) and new contemporary insights, including how the brain remembers distances at the keyboard. Therefore, the 'guide-mains' is no longer only suitable for beginners. On the contrary, with the BPS method the 'guide-mains' is best suited to the professional pianist.
The 'guide-mains' is used for two purposes:
developing wrist technique in the style of Liszt/Horowitz....
developing control, toucher.
For correct use, the 'guide-mains' should be adjustable to two different heights for each pianist. These heights are personal. Depending on the build of the pianist's hand and body, the 'guide-mains' are at a different height for each pianist. The 'guide-mains' are only used during training, but not during piano playing itself.
Through the insights of the BPS method and the use of the 'guide-mains', you learn to play flawlessly and faster and you learn how to develop the ultimate touch. You learn how your brain works and how to program it. This results in more control, relaxed technique and a better sound.
Liszt on the 'guide-mains'
" Les octaves [...] répétées sur les mêmes notes en parcourant successivement une octave. On le répète vingt, trente, quarante fois de suite en faisant avec soin des crescendo et diminuendo, tâchant de partir d'un piano fin, pour arriver au plus grand forte. Tout cela doit se faire uniquement du poignet sur la barre, à main morte, à doigts lancés, sans jamais se crisper, ni se forcer du bras. "
Source: Boissier. (1976). Liszt pédagogue. Leçons de piano données par Liszt à Mademoiselle Valérie Boissier à Paris en 1832, 65.
“The contradiction is the proof of the truth” - Alexis Weissenberg
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