The 3-D Piano Method

The 3-D Piano Method is a 6-DVD series on piano teaching and playing, produced by artist-teacher Fred Karpoff. It attempts to describe the graceful, efficient usage of the whole body to play the piano in three-dimensions, as opposed to tenets such as “making all the fingers the same length,” “thumb-under” scales, “high” fingers, and using opposable muscles simultaneously, with curled fingers.
In The 3-D Piano Method, these are replaced with concepts such as the Quiet Hand, Rotational Mobility of the Hips, Continuous Alignment Adjustments in three-dimensions (up-down, in-out, and lateral), the Throw, the Vibrato Technique (for playing repeated chords, octaves, and tremolos), Three-Dimensional Shaping, and Released Fingers.

Piano Street’s Patrick Jovell got the opportunity to interview Fred Karpoff, creator of the 3-D Piano Method:

Patrick Jovell: Thank you for letting us preview your thorough pedagogical project, the 3-D Piano Method. We would also like to congratulate you on receiving the 2011 Frances Clark Keyboard Pedagogy Award for your work, by the Music Teachers National Association.
We have learned that one of the catalysts for creating 3-D Piano was that you suffered from a piano-playing injury that led to an overhaul of your whole piano technique — something that included collaboration with a physiologist. Can you tell me about your initial thoughts after making the decision of starting from scratch so to speak.

Fred Karpoff: Yes, it’s true that one of the reasons I wanted to produce the DVD series was to assist those who are facing what I went through. My own injury came when I was a doctoral student at the Peabody Conservatory, as I was preparing to embark on the competition circuit. I increased my practice time to six or more hours a day. Under this stress, I developed tendonitis, bursitis, and other inflammation. It was a terrifying time until I began working with a Feldenkrais practitioner. I was led through a series of whole body exercises, including shoulder and hip circles, leg and back stretching exercises. This work helped me to move more fluidly and gave me hope that I was on the right track. After several weeks, I began to feel better. And that’s when I realized the importance of integrating whole body movement into piano playing. Soon I was taking piano lessons with Yoheved (Veda) Kaplinsky. She showed me new ways to play with optimal coordination, to use only the required muscle activity at the appropriate time. Later I also studied Tai chi and the Alexander Technique.

PJ: We know that the 3-D Piano Method was created by somebody (you) who performs at a high professional level, very conscious of pedagogical goals and with a rear-view mirror perspective. What kind of obstacles can you avoid by using the 3-D Piano techniques in your training?

FK: This is one of the most exciting features of the series. It offers pianists a method to improve their technique with less risk of injury. It contains detailed analysis of over seventy-five pianistic elements, ranging from basic foundational elements like sitting position, alignment and free fall, to advanced concepts such as arpeggios, octaves, trills and scales. By carefully demonstrating each element and providing step-by-step exercises that are easy to review, the viewer is given instruction not only on how to avoid injury but also how to employ the whole body in a fluid manner. This, in turn, provides viewers with guidance on how to fully express their musical intentions, to focus on freeing the imagination and the search for greater meaning within their music.

PJ: In the videos we see you teaching college-level pianists. When do you recommend teachers integrate your ideas into their teaching? Do the suggested techniques primarily apply to students that have played for many years with a lot of technique and habits already developed?

FK: It is very gratifying that the series is being used at all levels of instruction. The ideal is to integrate healthful, well-coordinated pianism from the very beginning. At a recent teacher’s convention in Texas, several teachers recounted how they have been getting excellent results using the 3-D Piano Method with children under ten years old, and as young as five. It is similar to ice skating or gymnastics: the earlier one learns the basic, fluid biomechanics, the easier it is to advance to higher levels of accomplishment. Teachers using 3-D Piano report that they are able to do more actual “teaching” instead of “correcting.” Most of us were taught paradigms that run counter to natural movement. For example, “Make all the fingers the same length,” “Hold the thumb under the palm during scale playing,” or “Keep a coin balanced on your wrist while you play.” These maxims are seriously detrimental to one’s prospects of mastering the piano. Each of these calls for unnecessary muscle activity, usually through the continuous co-contraction of antagonistic muscles. This is akin to having the skater or gymnast told to curl her toes during all movements.

PJ: There are a vast number of books and multimedia on the subject of how to play piano from world-renowned pianists and pedagogues sharing ideas and methods over the years. Can you say that The 3-D Piano Method represents a school or tradition in the sense that it is based on already discovered ideas?

FK: There is no question that in the age we live in, the ‘borders’ of schools and traditions are becoming more blurred—that is, since information travels so much more quickly today, there are more opportunities to integrate elements of piano-playing that were previously exclusive to a particular ‘school’. There is no question that the 3-D Piano Method is rooted in a wide variety of traditions. Some of these include Matthay, Whiteside and Sandor. Other important influences are Karl Ulrich-Schnabel, Leon Fleisher, Richard Goode, and my own major teachers, Ann Schein, Robert Weirich, and Veda Kaplinsky.

PJ: You meet a lot of students at different levels and with different skills and personalities. What kind of problems do you frequently encounter? What challenges are likely to show up among aspiring young pianists of today?

FK: I believe the greatest technical challenge for students at all levels is achieving optimal coordination—playing with minimal effort to produce the maximum results.
And, in my experience, here are the most pervasive obstacles to optimal coordination: An overly digital approach characterized by misuse of antagonistic muscles (especially flexors and extensors); misalignment (especially ‘twisting’ or ‘swiveling’ of the hand); and continuous ‘grasping’ with the thumb while playing. All of these are extremely common, and all of them impede the graceful, fluid movement that is necessary for mastering the piano. I recently worked with a terrific pianist on both books of the Brahms Paganini Variations. The playing was technically excellent but the rhythm was not vibrant enough and the tone was not sufficiently warm. This was the result of too much held tension, particularly co-contraction of opposable muscles. By moving away from a more ‘digital’ approach and integrating whole-body movement, he was able to free his body and to liberate the spirit of the music.

PJ: If you were to create a sequel to the 3-D piano, what would you address and why?

FK: What is unique about the 3-D Piano Method is that it is interactive. There are hundreds of teachers worldwide working with the series to supplement their instruction in their studios and classrooms. Many of these teachers report using the series as a kind of partnership where 3-D Piano supports their teaching without superseding it. As we look into the future, we see many ways to build upon this principle of interaction with new technologies. We plan to offer live webinars and workshops that will lead to teacher certification. We are in the process of translating the series into several other languages.

PJ: Piano Street is thankful for the opportunity to speak to you, and for letting us preview the 3-D Piano DVDs and study guide.

The 3-D Piano Material

With 280 minutes of video and a 84-page workbook to guide the review process, the total experience for the viewer normally ranges from 2 to 12 months. Over 75 pianistic elements are covered in the series and are detailed in the study guide.

Throughout the series there are mini-documentaries of Karpoff working with twelve of his students. The opening units present essential information for pianists of all levels, including foundation elements, basic three-dimensional movement, sound quality, and chord ensemble. These lay the groundwork for the more advanced concepts that follow, such as arpeggios, octaves, tremolos, repeated chords, trills, scales, and pedaling.

Introduction to The 3-D Piano Method:

Excertps from the video material:
Foundations
Three-Dimensional Movement
The Vibrato Technique
Scales
Pedaling; Rhythm & Artistry

Read more and order the material at: 3-dpiano.com