What is the essential principle behind
"The Orosz Technique" ?

First of all, you need to get to know the "personalities
and behaviors" of all ten fingers.

We ALL have these traits and we ALL have
to learn how to fix them.

HERE ARE THOSE PESKY LITTLE TRAITS
THAT DRIVE US ALL CRAZY !

1) The thumbs hammer out rhythms irregularly.

2) The index fingers have the most reliable strength
and reflexes and overpower any chance of
"True" finger independence with the other
fingers.

3) The middle fingers have strength but raise "too high"
with each movement.

4) The ring fingers have the most difficulty in moving
independently ( due to hand anatomy ) and can't
lift up very high at all.

5) The little or pinky fingers, with their eagerness to please,
flap and wander about so as to be unpredictable and
usually move sympathetically with the ring fingers.

PUT ALL THESE TOGETHER AND YOU HAVE
A REAL CHALLENGE IN TRYING TO CONTROL
THEM AT WILL WHEN YOU TRY TO PLAY MUSIC ~

===============

Then, of course, there is the separate matter of the
fingers on your weaker or less dominant hand and
how they lag behind the fingers on your dominant hand.

YOUR TECHNIQUE IS ONLY AS GOOD
AS YOUR WEAKEST FINGER !

You may find that your fingers do slight variations
on this theme but in any case there are definite
differences among the fingers that make it difficult,
if not impossible, to play evenly without serious training.

BUT NO ONE EVER REALLY SHOWS YOU HOW TO ACHIEVE
EQUAL ABILITIES WITH ALL YOUR FINGERS ?

My experience is that even Conservatory
level Music Schools don't take finger
movements down to their most basic levels.

You're just expected to "learn" your music for the
next Jury Recital and Degree Candidacy performance.

Take two aspirins and call me in the morning !

===============

In order to move your fingers with the speeds and agility
of an Olympic athlete and with the control of a
fine Swiss watch, you must "Train" them.

You must "Study" how they interact with each other
during the "lifting and placing" processes.  Learn to
listen so you recognize the "Blurbs" when they happen.

"Blurbs" are what I call those unwanted "In Between" notes
that sound when your fingers aren't placed perfectly
in sync.  Blurbs make your playing messy and can destroy
any hope of coordinating fingers in fast articulated
passages.

One tip I can give you on this is that you can try to
analyze what note is actually sounding by purposely
moving your fingers out of sync and memorizing the
pitch of the Blurb so when you play up to tempo, you
can tell which finger is rushing or lagging behind.

Then concentrate on that finger to improve its
performance.

OR....

You can just take my courses and watch your fingering
mishaps disappear in front of your eyes.

===============

WITH MY METHOD...

There is no need for lengthy analyzation.  You just
follow my my instructions faithfully and you will see
fingering problems melt away and your playing become
more effortless.

Even sight reading improves in all registers because
your mind in now free to read the written note rather
than being bogged down with finger movements.

Your finger movements become absolutely automatic !

===============

HERE'S THE DEAL !

1)  If your fingers do not all possess equal strength, they
will not produce evenness in fast passages.

2)  If your fingers do not coordinate to interact uniformly,
you will not be able to play difficult passages indiscriminately.

3)  If your fingers do not possess equal strength and coordination,
they can not move independently.

4)  If your fingers do not move independently from one another,
you will not be able to play accurately.

You must possess knowledge of your finger behavior, possess
strength in each finger, coordination to interact in
synchronicity, independence to move your fingers individually
and all of these elements to play with speed, accuracy and
lightness of touch without stress or tension.

You most likely don't possess one or more of the above.

My courses will deliver them all to you. Guaranteed !

~ Jules