Universal Secrets To Playing Fast and... Musically !
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The Deluxe Edition is Currently On Sale
For a Limited Time So Act Now !

 Books One & Two !

Instant PDF Digital File Download on Purchase !

306 Pages in One Download
That You Can Easily Print Out
In Just Minutes From Now !

Detailed Photographs and Complete Instructions Showing 
Exactly How To Practice My Exercises Using
 My Three Finger Motion Styles

472 "A to Z" Graduated Exercises
Organized Into 20 Degrees of Difficulty... 

2 Comprehensive Courses That Combine to
Give You Flawless Instrumental Mastery !


When You Order
"The Deluxe Edition" of Books One & Two,
Receive Book 3 For FREE !"

Total Value $ 142.50 for Book 1,2 & 3 
If Purchased Separately

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"I am loving your method, Jules.
So clever and logical ...and 

Nivaldo M.,  from Australia


Dear Jules,
"I have been using your finger exercises
and have nearly finished Book Two.

After the first day or two of starting
them, I played a very difficult oboe piece that
I had been struggling with for months absolutely
perfectly, in terms of finger technique,
which 4 years at Music College and hours and
hours of scales and etudes never accomplished.

I couldn't believe it as my fingers felt controlled
for the first time ever. I was elated !
Thank you so much for your help!"
Kind regards
Jade O. from U.K.


 Own The ULTIMATE Step by Step Method
  That Re-Wires Your Fingers To Work
   Together For TOTAL Finger Speed,
    Coordination, Accuracy and Balance !

    Safe & Secure Online Ordering !


   Do You Believe All Fingers Are Created Equal ?

Do You Believe All Training Methods Effectively Train Each Finger To The Maximum ?

Would You Be Satisfied With a Technique That Functions Efficiently ....In Only a Few Key Signatures ?

If You Could Have Fundamentally Better Finger Control, Would You  Settle For The "Status Quo" Instead ?

Are You Ready To Take Another Look At The Truth ?

Then Discover
"The Orósz Technique"

The Only Method That Tells The Whole Truth !

"Finger Training For TOTAL Artistic Control & Mastery".


To help musicians in their eternal quest for the perfect performance, Ms. Jules Orósz has created "The Orósz Technique" and has given the musical world more than
   just a few finger exercises.  These include
  fully integrated, graduated and calisthenical finger disciplines - yielding  
    the elements most essential to musical   
     expression - and performance on ANY  
   musical instrument.
      She knows about the human impulse to
        explore sound and the human heart's
       delicate perception of musical nuance.

Her method focuses on finger patterns
from the basic to the complex
because she sees them as the heart
and soul of being able to perform music
effortlessly and fluidly.

For her, turning one's focus away from
the instrument was the obvious way to go,
allowing her to pursue a unique, artistic

YouTube is now the ultimate in clever
technology, giving us a way to live
vicariously through other musicians' impressive  victories of virtuosic performances in the comfort of your own home.

Yet, when it comes to delineating musical
atmosphere, tonal textures and other
ineffable qualities perceived by the human
ear, these new technologies just don't
compare with the Old World feeling of
accomplishment that one receives when
playing one's own music, deeply immersed
in profound moments of inspiration linked
together one after another.

That figures.  High quality musical satisfaction is not just a matter of watching others as they
play with virtuosic conviction.  It's not about
how many notes per second they play, either.
Capturing the moment of pure musical expression and weaving it into shapes with beautiful colors is what makes every musician's dream.  

Jules was determined to create a finger
training method that gives the musician the ability to go beyond natural talent without making the conventional compromises
in the process.

This passion, this conviction is what sets
"The Orósz Technique" apart from
conventional wisdom

Unique and ground breaking
, "The Orósz
Technique" takes the process of finger training
through a set of fingering combinations, away
from one's instrument and forces the mind
to focus on just finger movements using Three
Very Specific Finger Motion Styles
It is these three motion styles that create what
she calls, the three layers of true
finger technique.

Giving the musician the actual ability to apply a
fresh impact on performance, creating the kind
of extremely vivid feel and amazing finger
that rocks all existing finger technique standards.

What's left after completing this method is
absolutely no loss or fumbling in rapid and
complex fingering passages

"The Orósz Technique" is redefining the
existing finger training standards for musicians,
no matter what style of music or
instrument they play.


You'll want to get the maximum value
out of the raw finger control delivered
by "The Orósz Technique": nothing does it
quite like this exclusive and target
specific program.

You'll find that it opens up new vistas of
artistic satisfaction
.  And isn't that what
playing music is all about ?

Most conventional training methods assume
that you'll "magically" internalize perfect
technique with just a few scales and etudes.
So they deliver "finished" exercises to be
practiced for a few moments, "hoping" that you'll somehow morf into your favorite concert artist.

That's why, when you try and play your
music of choice, all you can do is barely
stumble through it with minimal interpretive
spontaneity.  In effect, it's like being stuck
in auto mode, with the restricted processing
scope you'd expect.

"The Orosz Technique" approaches the subject differently.  Raw and powerful finger control is captured by this progressively difficult series of short focused exercises, moving you from simple sets of fingering combinations to complex arrays that give you
complete artistic control.

All you need to do is draw out the musical colors, textures and tones from your newly found instant finger response.  Bring it all closer to the emotional imprint of the moment when you first heard your favorite music flood over your mindscape and soul.

Faithfully reproduce what you heard and felt.  There's nothing like the thrill of hearing your own playing revealed in its full, unexpected glory, note after note, phrase after phrase.

If you care about the quality of music,
"The Orósz Technique" is for you.

The only finger training method
designed for artists

A method that let's you focus on the music and eliminate the extraneous finger movements and bad habits that rob valuable time away from the real task replacing them with a truly intuitive user interface with the music.

Rigorously honing your finger's basic performance until they are capable of handling the most complex fingering patterns at any speed, and comfortably.

"The Orósz Technique" doesn't focus on any
superflous finger movements.  It simply
combines structural simplicity with high performance.  That's all you need
as a musician.

Once you've achieved the top flight finger control delivered by this unique set of finger training movements, plus your your own artistic vision, then the musical and interpretive performance you really want is already yours.

Just follow your heart, open your ears, go to your instrument.....and play.  This method delivers the ideal personal performance ability that sets every musician free.

"The Orósz Technique".  The only finger training method with the potential for giving you artistic perfection.

Books One & Two now available in a single Deluxe Edition plus
All of Book Three Lesson

472 targeted finger exercises
contained in 306 pages.

Three Unique Finger Motion Styles for each exercise resulting in 1,416 finger concepts that will advance your finger and rhythm skills faster than any other.

Detailed instructions and photographs.

Professionally conceived in 20 progressive degrees of difficulty to solve ANY fingering or rhythmical problem you may have.

3 Unique Finger Motion Styles

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Instant PDF Download of
Books One, Two & Three

Regularly $142.50
For All Three Books,

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$  28.75  US dollars


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"I am loving your method.
It's so clever and logical and
it WORKS !"

Nivaldo M., from Oatley, Australia

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What Musicians From Around the World Are Saying...

"Hi Jules,
I am professor in Jazz improvisation at the Malmö Academy of Music in Sweden. My instrument is the alto saxophone and I am always looking for interesting tools to be a better musician and I think your system is one of the best I ever have seen."

Regards, Helge A.


"Jules, Thanks for this.  I must congratulate you on your web management, back up and customer service.  Outstanding !

My main instrument is the oboe.  I studied under one of the greatest English players, Janet Craxton.   At my best, in my youth, I was offered a scholarship at the Royal Academy in London.

I tried your first lesson and that evening I felt I played the harpsichord more precisely and less blurbs, as I think you call them, on the oboe.  That's why I signed up.  My age - late 60's. 

Anthony W., from London,  Oboe


"Hi Jules, You are absolutely correct- I love your Lessons! I am a (mostly) retired studio musician.

I spent 30 years in Nashville studios. Tons of albums -TV jingles. I play all woodwinds
except bassoon. My love is flute.

I have arthritis, especially in my left hand. It's slowed me down considerably. I suppose that is my biggest challenge. After 2 days of practicing  your course, I can already see obvious improvement.

I am very excited about your material."
 Regards,  Bill P. from Nashville, Tennessee


"Ms. Orosz, I recently ordered your courses
and I just wanted to say hi and give you a first impression feedback. 
It's been really interesting to watch "personality flaws"
develop and then pass away in each of my fingers over the last several days. 

What's been most interesting is the challenge of your Finger Motion Style Two movement.
I must admit I've found noticeable improvement even in the short time I've been doing your exercises.

Thanks for putting this all together."

Paul M. from Bloomington, Indiana, Piano and Woodwinds


"Jules, these finger exercises have been extremely useful in training my left-hand little finger not to "fly away" from the frets of my classical guitar.  Thanks. "

Louis F. from New Orleans, Classical Guitar


"Since some time ago I have searched for a method that would make it possible to practice when I don´t have my instrument at hand. There is so much wasted time to make use of ! I have just received your lesson # 1 and it seems to me that this is just what I´ve been looking for !

I feel this is the right method for me."

Eric L.


"Twenty years in the business and never seen anything like it.  As a doubler, I Really flipped out when I started working through the exercises and saw my fingers landing the keys easily as I go back and forth between sax and flute all night long" 

Tony R., Miami Florida, Jazz Sax/Flute


"I have been wondering how to enhance my playing skill. I've noticed that the improvement of my skill goes very slowly and if I do not play for some time, I return to my average skill again. I can not practise with my busy life for 1-2 hours constantly everyday in order to improve my skill permanently to a higher level.  When I found your offer it looked to me very realistic to spend 15-20 minutes anywhere everyday  to build a solid foundation onto which it will be simple to play music with a noticebly higher level,
It looks to me that your course is a low price to pay."

Sincerely, Dragan L., from Germany


"In spite of my arthric knuckles and somewhat crooked fingers, in bringing my fingers back to playing shape, I think your course is the iceing on the cake, to give my fingers more strength and independence and enjoying every minute of it."

Regards, George Y., from Nova Scotia, Canada


"Hi Jules, I am a 55 year old clarinet player.  I have noticed that my left hand has a hell of a time keeping beat.  I wasn't sure what to do next until I stumbled across your web site. Isolating the problem without the
clarinet's other challenges spoke to me as the way to go.

After a couple of sessions with your program I am exited by my practice
and feel confident that my dream of playing unimpeded is within my grasp.

Thank you for creating this course, it has come to me at the perfect time --
as all things do.  Cheers,"

Geoff C. from Victoria, Canada, Clarinet


 "I hope business is going well for you.
As a professional musician, I find
your exercises help my fingers feel limber
as well as help with independent movement."

Susan L. M., Bassoonist from Appleton, WI

"Hi Jules,  I want to thank you for providing this course. I've been a professional woodwind player for 60 years- recently retired.

When I think of all the time spent on improving & maintaining technique..... .

The Lessons are unbelievably efficient, effective & virtually "painless"
Thank you, thank you, thankyouthankyou '/., '/.,'/.

I"m looking forward to completing your course."     Regards, 

Bill P.


"Dear Jules, I want to thank you so very much for making your programs available. 
I had my clarinet out this morning .   What a difference!  

I attempted a few etudes after scales and found them quite playable indeed.

You Madam, are a genius!  I'm very much looking forward to completing your courses. 

You're a Godsend, to beautiful music in every genre."

Gerry M.


"Jules, Just to let you know that even with the challenge  regarding my small finger and after only two weeks of finger practise, I have experienced a marked  improvement in my playing.  Kind regards."
Gustav R., from South Africa, Alto and Tenor Saxophone


"Jules, After receiving your first book, I must say that this is nothing short of amazing!!
Every so often, someone comes along whose ideas stand out from the rest...yours is one of them.

As far as support goes, you have covered all aspects amazingly well.
The more I use your lessons, the more I am convinced that anyone who does not take advantage of this incredible set of lessons needs to wake up.

I think we all get stuck in a paradigm  of "rules" (that we have been told through the years) that will work if you just stick to it. And then you come along, and we get a different view.

I have over 250 college credits, and I would have NEVER thought of practicing WITHOUT the instrument.

This is amazing! I bow to you.

I continue to be impressed by your expertise, and how well you cover each element.
Thanks for "staying-on-top-of-it". It is greatly appreciated.

Nice going on your work!!    

I'll see you on TIME mag next!!"
Donald  ( Dr T. ) , from Pine Grove, California

"Hello Jules, today I started the first exercises of the first lesson. I am shocked  how little independent finger movement I possess, even after 6 years of flute study at the Victoria Conservatory.

You are absolutely correct that independent finger training is at the root of good  technique and that the standard musical training doesn't teach that. 

However for older, mature students like myself, starting at age 60 neural pathways do not develop that rapidly and we get stuck along the way with clumsy technique.

I think your course is the answer."


Eric E. from British Columbia, Flutist


"I have finally found what I had always been looking for, the real way to improve my playing ability. Your finger exercises are a perfect compliment and fit me like a glove. Since I do not have a lot of practise time, at least now I have a way to improve my finger control at intervals available. I really see this as an opportunity for me to reach my destiny within my lifetime. Believe me, a year ago, it was just a dream to play great, now I see it as a real possibility, even with my limited practice time."

Sincerely, Paul C., from Manitoba Canada


"I can't believe after just one day of going through the exercises, my fingers were already starting to do what I wanted them to do"

Patty W. Bangor Maine, Oboe

"I was skeptical at first but I have to say,

George S. from Boulder Colorado, Pianist

"Just when you are about to give up on your technique,you come across something like this.  So many years I struggled with speed and the solution was not playing scales over and over.  Why isn't this program in ALL the Music Schools ?"

Edward T., Boston MA, Flute

"Thanks Jules for this training course.  I'm finally "getting it".  The upper register is so much easier now !"

Dianna T.,  Houston, Texas, Clarinet


"Jules, so far so good. I've been using the exercises and with my oboe playing experienced a reduction in the amount of "brain power" I'm devoting to my fingers.  Also I'd never realised that what I had perceived as a common physiological - a weak ring finger - was actually due to me using it from the second knuckle rather than from the joint with the hand.  This alone has been a revelation."

Yours, Craig W. from London,  Oboist



"Hi, Silent practice is very welcome to my wife & neighbours !"

Cheers, John W.


"This is GREAT!  I am a pianist and haven't played  classical music since college (25 yr.).   I was getting really frustrated - the old technique studies were not really helping.  I am working on your lessons and they are helping significantly in recovering control over my fingers. 
But one of the greatest side benefits is that I am able to do body tension checks as well.  I will recommend this to other teachers and pianists."

Cheryl G.