Hand-Engineering and Re-Engineering for Contemporary Piano Playing.


My intent is to contribute to the world of professional piano performance and pedagogy with alternate practical tools that can be useful for those needing solutions to technical problems that seem impossible to resolve, or simply have not been resolved, that can ease the process of performing and thus, be used for teaching.


After 50 years of teaching and performing, I am convinced that playing the piano and  approaching challenging repertoire,  is not really outrageously difficult, and finding solutions is easier than thought, at any level.  In fact, almost everyone with some background can cherish from the suggestions that I have successfully systematically used and implemented.  But although everyone can learn from different exposures and experiences, my goal is to reach out exclusively to  pianists, teachers and piano students who need help.


Although what I have to say regarding piano technique may be of interest not only to those who want help and basically are looking for some other way of resolving difficulties and strains at the keyboard,  I  wish only to offer a new insight to the art of piano playing  to all who are in search and can open their minds to  "another way" of dealing with the  captivating realities of piano playing.


I would like to advise readers from the beginning, that this is not rhetoric, history nor a comparative criticism or lecture on piano technique, and what I have to say,  may  well not  be likable to all. In fact, some fundamentals and beliefs of technique on which some pianists and teachers have been based upon during their whole life may be challenged.


What I do have to say,  and I can proof it, is that there is a another way of performing and teaching piano. That there  is an easier,  more natural  rationalized physical and  exciting way of approaching the skills of piano playing, while avoiding all physical strain in the process.  We all  search for  what we  wish to pursue:  to perform and project the magic of  music, at the highest possible level within the realm of capabilities of each individual.

I feel it is foolish to be convinced  without evidence; but worst yet, it is  equally foolish to refuse to be convinced  by real evidence. And although the whole system may be unnecessary for many, it definitely may help many others. And this is what this workshop- project is all about.

2015 © Pilar Leyva