You could demonstrate this in slow motion as I have done for students. With CMajor, showing how the thumb will move under to catch the next C an octave above in the RH ascending root position. The thumb actually moves up beside the edge of the hand and as the tempo increases it just lands automatically on the C above without the bump we often see in examinations.

Unless you show it in slow motion we cannot practice it

Chopin op.10/8 is a master class for this

Micro yet super practical!! Thanks a million bro!

OK - so we get rid of the thumb tuck - but it would have been good to show us what to do instead. Playing the arpeggio at full speed doesn't help us to see that

Great tip

Could you please demonstrate the 'little bit of rotation' you mentioned in this context? I don't see how rotation could be applied to an arpeggio!

I apply the same regimen to each practiced arpeggio, the keys played in the piece. Detailed in another video comment in scales. I log every session for speed, contrary, parallel, scales and arpeggi. I have a reference from last session. Use sticky notes above my music stand. Stick 'em on the piece while doing the exercises. I find that I have more trouble with 3, 4 over than 1 under. I've gotten pretty good at that. Rotation helps but I'm still working more on forearm lateral shifting to get in position quicker. It is possible. Takes a while, move like lightning in one motion, repeated. It is coming along nicely. I'm more than satisfied with progress.

Show how to do it if you have small hands & cannot connect the arpeggios, in slow motion. Thanks

We practice arpeggios as memorized patterns to employ the habituated movements and patterns in the music, as they are prevalent in musical structure and organization. Your thumb under technique has really helped my playing, starting with arpeggio habits. We find thumb under passage very prevalent in piano playing. I find that I'm able to do it better with a higher wrist and knuckle bridge as basic hand form; most of the work is done by lateral forearm movement, getting in position rapidly-larger intervals most challenging element for me-this takes care of about 75% of the issue, then the thumb goes under in a more relaxed manner, no farther than base of 2-3, that gets about another 15-20% of the distance closed, then if a little rotation is needed, I'm also in position for that. Not working on rotation as much as in the beginning as the 2 mentioned habits get me about 95% of the way of the way I want to go. Letting the big and small muscles do what they are more naturally prepared to do, not compensating by finger/hand stretching and wrist twisting, my former method. Thank you, Craig, your methods are remaking my piano technique, the progress is more than satisfactory. Dave M

“Here’s how to play better arpeggios: play them better.”

Thank youuu!

I wished know this channel before 😊

Believe in Jesus Christ, trust in Him for your eternal salvation and repent of your sins!

how 'bout legato, playing arpeggios in a legato style, pls tutorial, i need help in the czerny op740 no2

But how do you play legato arpeggios without tucking your thumb under?

Why in the world would any self respecting pianist play a Pear River ?

I was told that I do unnecessary movement when I played like that

Bro wasn’t brave enough to try again after all that talking 😂

Never heard of NOT using the thumb in arpeggios, depending on what scale you are playing in.

Sounds a little too choppy to me. Crossing arms are easier.

Bring the music ringing through your chest and not your nose, you must sing your scales and arpeggios!

This is not entirely accurate. The reason your hand/fingers tense up when you tuck your thumb is, obviously, muscle contraction. Like any and every other muscle in the body, your various hand muscles can be exercised and, over time, become more "stretchy". There are specific hand exercises and warm-ups you can do to allow your hand and fingers to retain flexibility and range of motion with your thumb tucked, which will facilitate much smoother and faster arpeggios. Playing the piano, especially in classical stylings, requires more than learning scales etc. hand and finger dexterity is also important. Think of the difference between someone who skis on the weekends for fun vs a professional. The professional will also exercise their body and cardio religiously, where the weekend hobbyist may be in good shape, but 9 times out of 10 they wont be as concerned with their overall health and physical performance. Or, keeping it musical, same thing for vocalists. Theres a difference between the hobbyist who understands the bio-mechanics of vocalism, but may neglect their overall vocal health (not drinking enough water, avoiding smoking/vaping, regiment of vocal exercises and warmups). Same thing here, many modern pianists, especially homegrown/self taught, may understand the theory, but they will often neglect their hand strength. This here is a prime example of this.

Well, thank you,, but you didn't really explain anything. Arpeggios, like any other technical hurdle in the technical mastery of the piano are learned differently from person to person, i e., there is no one-size-fit-all solutions.

Bye bye tension :)

This is so wrong. This way you'll never produce a proper legato articulation in arpeggios which is needed everywhere.

Too long😂 stopped listening

Sigh :( Download and played at .15x speed and still too fast. Bad tip - Slow the F*** down