In this connection there is another tip: "Listen to possibly more good singing in opera and concerts, especially the singing top-notch singers. Sela Ward gathered all the information. All this will improve the artistry your phrasing on the piano. " In concert, the same outstanding pianists Leshetitsky advised to monitor the movements of their fingers and hands and noticed these pianists unfamiliar new techniques to enrich his technical arsenal, the most – do not keep up with the historical development of piano technique. And have to listen to concerts, and bad pianists. "At first good pianists, you'll learn how to play, while the second, how not to play." A distinctive feature of the school of pianism Leshetitsky is the domination of the active finger technique. Gaming should sit at the instrument directly, freely, watching even breathing. Hand at quite a low wrist kept in the form of an "arch" to metacarpal bones were drawing crooked finger, which should be "iron" in a flexible and soft brush (important carpal "spring" and lateral movement).
Proper technique as such in the classroom Leshetitsky not do it. She enriched and developed through the necessary artistic and technical methods. He was wonderfully inventive eliminates all the difficulties and inconvenience instantly, explaining in words and pointing to the piano. Often the cause of helping the theoretical analysis of the place. Generally, Leshetitsky believed that for purely technical work at the piano well enough three hours a day, but it should not be mechanical training of the fingers. Comparing the work of the pianist with the work on the painting the artist-painter, constantly interrupted to assess their results at a distance, he persistently demanded: "Do not play non-stop.