Essays on piano technique

I am the author of a blog in which I have been putting together various essays about basics of piano technique in a manner that is practically oriented- yet fully consistent with plausible scientific principles. If mere reference to science is off-putting, try this post to get an idea of how quickly these issues can lead to major practical improvements. Obviously as a teacher, while my explorations are naturally reflected in the methods that I employ, I don't turn piano lessons into science lessons! Depending on the student, I might often bring in snippets of scientific background, to help get the "feel" for what is needed. However, with other students I might equally focus almost exclusively on practical needs, or bring in simple analogies to illustrate a similar point.

While my blog is specific to issues of technique, in my teaching I cover all standard areas such as scales, sightreading and, of course, how to achieve musical shaping. At present, I am focussing on this area in my writings primarily because I believe that I have some significantly different perspectives to offer, compared to typical methodology. However, I will also be publishing posts on other issues that I have developed a notably personal approach to. This post contains a summary of quite how easy scale fingering is to fully understand, when seen from the right viewpoint. In particular, I also intend to publish posts that demystifies the process of reading music- covering the real secrets that contribute to fluent reading (from absolute entry level right up to the extremely advanced).

Anyway, here's an index of my blog posts, thus far: 
The single plane theory part ii- plus levers
Clearing up a number of issues- including gravity as a power source, finger "isolation", the passive role of the arm, fixation compared to balanced stillness and why fingers should seek to maintain the support mechanism at the keybed without undue effort- not simply "relax"!
Alignment and the role of arms part i
Hunched shoulders- why do they really occur and how can they be fixed (with an extended digression on issues of stool height)?- Alignment and the role of the arms, part ii
"Keybedding" part i- to follow through or to hold back? How does a pianist really avoid impact, strain and injury?
"Keybedding" part ii- achieving a direct line of action without impact (plus an illustration of the REAL psychology behind prevention of muscle tensions)
Action and reaction in practice part i- achieving a big resonant thumb sound without impact and how to activate the thumb for effortless scales
There's a hole in my bucket- issues of efficiency, why tension/relaxation thinking essentially just distracts from a vastly greater issue and why the arm can never genuinely replace the role of the hand's actions