Μεσολογγίου 25, Π. Φάληρο   2109844081 6977870293   ourania-argyropoulou@hotmail.com

  

 

LRP – Learning Rapidly Piano
(in Greece is known as LouRouPou from the initials of the inventor, Liana Rousianou – Piperakis)

 

Introduction

This system reduces by half and more the study time, which could generally become prohibitive while, simultaneously, improves the technique and increases the expressional possibilities. The system is based on the physical mechanical abilities of each hand. It doesn’t reject the traditional – conventional study systems, on the contrary is based on them and uses them in a way to achieve the maximum result directly and permanently.

How it works

The way that it works is specific. Although not easy to describe it in words, here we will try to present it at least partially. Our mind could understand, but our hands don’t always follow the requested and this is a common experience for all piano students!

(a) At first we identify the difficulty (difficulty, however, is relative). A composition which could be very easy for a charismatic soloist, it could be unapproachable for a student studying for his degree or diploma. Something easy for a graduate student could be impossible for a Middle Class student, etc. In general, there no opus is “difficult”. It just may contain some more or less difficult parts. “Difficulty” is the notes combination and sequence and not each note separately. Since, then, difficulty is identified it can be separated into subsections.

(b) We must find what we want (quickness, force, divergence, etc.) and why our hand doesn’t respond to the musical text requirements. And this should be done very carefully and with continuous “anti-moves” in order not to cause the well known tendonitis that have destroyed many hands and carriers, eliciting from our hands the maximum possible functionality. This is impressively, more than what we believed until yesterday!

(c) After working on this part, we unify partially the whole part. This could be seen as a time consuming process but it is exactly the opposite. Piano technical difficulties are certain. By solving them in a musical part we solve them permanently. Then we just adapt the notes. Let’s take for example trills. Either they are in do-re or in mi-fa, since the fingering is the same, they show no difference. Our request, then, is to perform quick, clear, equivalent, of equal weight and unlimited trills with all fingerings. Doing that in the play we study, we get them forever and we don’t need to deal with them again.

To whom it concerns

Everybody! Piano students ready to abandon because of short time for study (school pupils, university students, working people). Final year piano students that believe that they have no talent to complete their studies getting the coveted degree or diploma and seems that their up to now effort, time and money is wasted. Furthermore, graduated wishing to improve, teachers wishing to help their students not to quit early … Also, it targets people that once played piano, then quit for some reason and now they believe that they have completely lost their agilite (skill). The well known “now my hands are warpage”… In the same category there are people that always wanted but they didn’t had the chance and now they don’t dare because … “at my age? Can I do it now?” This is not valid! Our hands “wake up” and respond.

Also, it is about students of other instruments, which in order to get their diploma they have to learn piano in addition. Something that in most cases seems more difficult, not only from the instrument they have chosen, but even from all the mandatory theoretical courses.

Finally, it is about those employed in bars, piano restaurants, etc, and are stressed to refresh their repertoire. It is the same with the Chorepetiteur de ballet, who are always with a new score ahead (LPR system helps in Prima Vista, even the slower performers!), singers attendants and exams attendants, who are facing the “next week I have exams and my accompagnateur had a problem, will you accompany me?”

Where the system is used

The system is taught for more than twenty five (25) years. It was presented in the form of seminars in the National Conservatory of Athens and in the Municipal Conservatories of Kalamata, Volos and elsewhere. Also, it is taught in private lessons.

System is presented in TV broadcasts, magazine and newspaper articles, in the American Union etc.

Among the distinctions awarded to the system are the recognition granted by internationally famous universities such as the Royal Academy of Music and Trinity College (UK). Even NASA researchers contacted the inventor of the system, Mrs Pousianou Piperakis, wandering how an individual without any specific scientific knowledge reached empirically to the same conclusions with those they resulted after research on issues regarding the muscular groups’ memory.

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ΜΕΣΟΛΟΓΓΙΟΥ 25, Π. ΦΑΛΗΡΟ, Τ.Κ. 17563

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