Universal Secrets To Playing Fast and... Musically !
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Here are some Frequently Asked Questions

Q:  Do you offer free lessons samples from your method ?
 
A:  My method courses are a process with
beginning middle and end, incremental
skill development in stages.  Sample lessons
would not enlighten you so I provide
some screen shots on my "A Look Inside The Method"
page but 3 finger motion styles are not
revealed as they are the real secret to how my
entire method works.

So the short answer to your question is that
you would need to purchase knowing that I
offer a 30 day unconditional refund policy.

My refund rate is only .004% due to my very high
success rate with subscribers.


Q:  I'm a 66 year old sax player ,1st instrument,
started @ 60, practice regularly; I'm no Charlie Parker;
not yet anyway; many deficits; including the tips of left ring
& pinky.    How much time per day practice is needed  to
progress thru the 1,2 and 3 books?   Your sample exercises look
hard to me. I can't count while I'm playing.What are your
thoughts that most people can actually do the advanced exercises?  


A: 
Most practice about 30 minutes a day and that
time grows smaller as your skills increase.  Book One
has detailed explanations about my three finger
motion styles that you employ with each exercise.

They will increase skills faster than any other method
and are the real secret behind the success of my method.

Book 3 will teach you rhythm and counting starting
out with easy exercises and gradullay increasing through
various levels of increasing difficulty so you won't have
any problems even though your counting skills are not
fully developed yet.  My method will give that to you. 


Q:  What is meant by "re-wiring the musician's fingers " ?

A:  I have never met a musician who is 100% thrilled with
his or her fingering skill.  If you are, then you are in the top .0001 percentile and congratulations, you are probably a world class concert artist.

The fact is, is that every instrument requires specialized finger
spacing and coordination skills that must become second nature.
But those skills are the only the second part of the equation.  The
first part is being able to move the left and right hand fingers
in perfect synchronization and in every combination.

So my point is that our brains are not naturally "wired"
for these specialized skills.  We have to "re-wire" out brain,
so to speak, to gain the physical finger skills required to play music.

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Q:   Can I really achieve finger accuracy without my instrument ?

A:
   
Yes, this method is a professionally conceived Calisthenical routine employing three specific and uniquely different finger motion style movements that when combined with my exercises take the finger movements through a variety of graduated fingering combinations, thereby vastly improving finger strength, speed, agility and control.

The result is being able to
play complex fingerings on any
instrument at any speed easily.

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Q:   What is meant by the word "Calisthenical" ?

A: 
   Calisthenical is a term referring to the art and practice of specific
exercises, performed with no special apparatus, designed
to develop and strengthen targeted physical abilities.

In this case with my method, the musician's finger abilites of speed, strength, accuracy, agility, lightness of touch and ultimately control.

By the way, lightness of touch and speed does not happen without strength.

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Q:    Can you tell me more about the finger motion styles ?

A:   
 There are Three Unique Finger Motion Styles that are
incorporated into each of my fingering sequence exercises.

In my method, fingers on both hands go through a series of
fingering combinations simultaneously specifically designed
to iron out weak fingers and develop the traditionally "slow"
ring and little fingers.  They
are incorporated into each of my fingering sequence exercises.  In my method, fingers on both hands go through a series of fingering combinations simultaneously specifically designed to iron out weak fingers and develop the traditionally "slow"ring and little fingers. 

These three "styles" are graduated in terms of how the
skills have to develop in a building block way.  It is these
finger motion styles that actually develop the brain's ability
to control the fingers independently in concert with the
fingering sequences.

FINGER  MOTION  STYLE  ONE

The First Phase Baseline Skill Builder That Retrains
The Brain and Fingers So That One Finger is Not
More Dominant Than The Others.

Motion Style One develops strength and coordination as
well as the ability to move each finger directly from the
large hinge ( where the finger meets the hand ) without
bending the other joints as the fingers go through the
exercises.  This teaches the only necessary finger
movement....one finger movement per finger motion.

FINGER  MOTION  STYLE  TWO

The Second Phase Base line Skill builder Ingrains The
Concept of Minimal Movement From the Non Playing
Fingers For Total Finger Independence Training.

It strengthens the "Lifting Motion" of the fingers which is
something that very few players EVER think about. 
One major benefit of this skill builder is the mental
training of preparing for the next fingering....In Advance.

FINGER  MOTION  STYLE  THREE
                                
The Final Phase of Total Finger Control and Ability
Where You Will  Refine Your Finger Control To Include
Speed, Accuracy and Lightness of Touch.

This Finger Motion Style emulates the actual finger
movements on your instrument.  Phase One and Two,
in their thorough preparation of the lifting and placing
actions of each finger aid in strengthening and creating
independence of finger movements and the
"Advanced Thinking Technique" of "In Sync" switching
of the lifting and placing motions.

I have discovered that when you move your
fingers in my three unique and distinctincly different
motion styles, finger control accuracy and speed
increases faster than when simply practicing
on your instrument.

And when you follow my specific exercises that
are graduated into 20 skill levels using these
Three Finger Motion Styles progressively, you'll then
be able to just pick up your instrument
and work on your music rather than
spending valuable time on scales and etudes !

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Q:   Does your method work for all instruments ?

A:   Yes, all 3 Books of my method professionally trains the
proper use of the hinge joint ( where the finger meets the hand )
and the slight arching of the fingers for any instrument.  Together
with proper technique and my problem solving exercises, you gain
strength, faster more coordinated and efficient finger control on
every type of instrument.

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Q:   How long do I need to practice your exercises daily after
completing your method ?

A:   I recommend a minimum of 20 minutes just before you pick
up your instrument.  Longer if you have the time and when you
incorporate this practice into your normal practice routine,
you'll see the benefits of finger control increase daily.
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Q:   What is the difference between Hanon's The Virtuoso Pianist and The Orosz Technique and  do you have the book one "purely fingers" and book two "the internal clock" on DVD ?

A:    The Hanon Method is specifically and only for the pianist
in 60 exercises.

My method, between Books 1 & 2, is 472 universal finger training
exercises over 306 pages for all instruments because it works
directly with brain/finger connections without the interference of notes and instrument specific hand position.

Each of my exercises are practiced in three
distinctly different finger motion styles
that when employed, result in a "real" brain
connection that is difficult to achieve in
any other way.  This gives you 1,416 short focused 
exercises in total that have 20 levels of skill
building from easy to difficult.

My courses are not available on DVD because the
type of learning I wish to take you through
has to be done without much visual aid.

Training the brain to "think fingers" is my specialty
and visual aids really only diminish progress. 

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Q:   Can I stay on one lesson more than one week ?

A:   Yes, it is essential to customize your learning to accomodate
your particular needs and weaknesses.
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Q:   After I've gone through your entire course, which exercises do I practice on a daily basis to stay in shape ?

A:   Though the answer to this question will be different for everyone,
I suggest to warm up on exercises from Lesson #1 and then choose
exercises from other lessons that still challenge you and fit into
the practice time you have alotted.  This will keep your fingers
nimble.
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Q:   Do you offer videos of your different Finger Motion Style techniques ?

A:   No, here's why.  The connections needed to integrate and fuse
the intense learning that takes place with my method is diminished
through visual learning or "copying".  You must "think" and "feel"
the learning process for yourself in order for progress to happen.  This is why I include the finger motion style instructions in every lesson.  You just  need to read them over and over so they sink in.
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Q:   I'm retirement age.  Will your method help my fingers now that they are much stiffer than when I was younger ?

A:   Absolutely !  My exercises will bring back much of the mobility
functions and independent control.  I have many retired
musicians following my courses and they e-mail me with their
stories of success.  Interestingly, I have several students who are
orchestral players taking my course so they can keep up with
their younger counterparts.
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Q:   I am a beginner on my instrument,  Should I wait with your
techniques until I've taken a few lessons ?

A:   No, the sooner you start gaining finger independence, strength
and control, the sooner you will start enjoying the music you
want to play.  You don't need any music reading skills
to follow any of the three courses.
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Q:   Do guitarists see any benefit to your lessons ?

A:   Yes, the most frequent comment I receive from guitar players
is that their left hand fingers don't fly off the fret board any more.
They have a tight and controlled finger ability.
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Q:   I am an advanced flute player.  What benefit will I see after
taking your courses ?

A:   Even advanced players have fingering problems.  Especially
with complex finger combinations.  More specifically, their
fingers can travel away from the keys too far when the notes
become too fast for their ability.  My method trains the fingers
to stay in control during extremely fast passages.  This will happen
no matter what your instrument is.  From the penny whistle
to the sitar.
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Q:   You have someone taking your method that plays sitar ?

A:   Yes, as well as those who play all the standard orchestral
instruments, I have those who play the bagpipes, shakuhachi,
tabla, harmonium, native american flute, bouzouki, recorder, bass guitar, banjo, organ, chinese bamboo flute, etc..  Quite a varied list.
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Q:   What do you see as the biggest reason to buy your courses ?

A:   Before solving real finger control issues, I would have
to say that the biggest benefit is being able to practice anywhere
without your instrument. Practice time on the instrument can
be limited and there is so much down time without your instrument
where you could be spending 20 minutes here and there to
dramatically improve your finger technique.  When you memorize
my exercises, you have a training method you can use while
at work, quietly at your desk or at home while watching TV.  Then, when you finally do pick up your instrument, you'll go "WOW, I'm better now than before !"
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