Articles
MASTER THESE PRINCIPLES,
A PIANIST MASTERS ALL
Up to now we have posted seven articles, not including this one. Some might ask: your articles concentrate on piano technique, but up to now, why have you not talked about how to play scales, arpeggios, octaves, double-thirds, etc?
The series of articles we have written are all about principles of piano technique. We elaborated on the most fundamental principles. If a pianist can master them completely and perfectly, he will be able to play any type of technique very easily and smoothly, because all technique is based upon these principles.
What is the core of these principles? We must firmly stress and focus on two essential points: 1) Fingertips 2) The natural ability of the hands.
1) FINGERTIPS
Fingertips are the exertion points in playing. A good pianist is sure to possess ten magical fingertips. He uses his fingertips directly on the keys to convey his thoughts and emotions. His perfect technique is manifest through his fingertips. We have elucidated on fingertips in many of our articles, e.g. the arm-weight goes directly down to the fingertips; fingertips must grip the keys; the explosive point of the fingertips must be found; the arm-weight must transfer smoothly between the fingertips…etc. In technique training, we put our attention on the fingertips; we grasp the essential core, clarify our goal and use our energy on the crucial point. This way, the training will avoid detours; will not waste time and energy on trivial matters or shoot at random. The pianist can use minimum effort to get maximum effect and raise his level of playing rapidly and smoothly.
2) THE NATURAL ABILITY OF THE HANDS
This is the other crucial point. Here, the “hands”, in a broad sense, also refers to and includes the arms, wrists and fingers as a whole.
Everyone has a pair of capable hands. Playing the piano is to give the hands opportunity to fully play their role. In other words, we must utilize the natural ability of the hands to their greatest possibility. This natural ability of the hands does not need any training, because it comes naturally to us. The key to playing piano well is determined by whether one can use the hands’ natural ability rationally and appropriately.
We will define individually the relationship between the natural ability of the arms, wrists, fingers and fingertips with the piano.
The Arms
We cannot do anything without the participation and cooperation of the arms. This is a natural phenomenon and it is even more important to have the arms’ cooperation in playing the piano. This is self-evident. Yet some do believe the participation of the arms is detrimental to the training of finger technique. They oppose the arms’ participation and totally neglect their natural ability. These are two completely opposite opinions.
Nowadays, everybody says the arms must participate in playing. We have to alert you of two tendencies which cannot be overlooked____ using extra force of the arms to push and press and/or not using the arms fully. These two tendencies run counter to the principle of using the natural ability. They do not comprehend nor realize this ability is natural and so they do not know to use it appropriately.
The arms must participate in playing. The appropriate use of the arms lets the playing and the player merge together into a unified whole. It opens up an extensive universe as the psychological and physical barriers are lifted. One can play with freedom, ease and facility; thought and emotions can be fully expressed; the sound will be rich, brilliant and vibrant; the dynamic range will also be broad.
The Wrists
In daily life, one normally does not consciously feel the existence of their wrists. This is because the movements of the wrists and hands go together; they are harmoniously blended. Perhaps only when the wrist is injured, one feels how inconvenient it is and realizes the importance of the wrists. It is necessary for the wrists to participate in playing. This is a natural state and ability. But some believe using the wrists would hamper the speed in playing. They oppose the participation of the wrists. This kind of playing is lifeless, without any luster.
The wrists must participate in playing. The participation of the wrists is very important in playing. The main role of the wrist is to adjust. It is the “floodgate” of the arm; it adjusts the amount of energy, brings various changes of color; it adjusts the angle of the finger while playing, so the ten fingers can produce even and splendid sound; it adjusts the energy to be evenly and smoothly transferred between the fingers, so legato (cantabile) playing can be fluent and consistent.
Fingers
Some are of the opinion that the ability of the fingers is not a natural phenomenon, but the result of long term, arduous training. In reality fingers are very agile, even those of non-pianists are also very agile, because it is a natural ability, so no training is necessary to have agile fingers. Playing the piano really needs this agility that we are born with. We must keep it, utilize it and bring it into full play!
Fingertips
To grip keys with the fingertips is of course the ability of the hands. Everyone can grip the keys. It lets the energy and the attention focus onto the fingertips. Playing is very direct and effective. Gripping keys with the first joint of the fingers is a great progress in playing. One can use the minimum energy to handle very difficult pieces and produce sound which penetrates and has profound effect on the hearts of the audience.
The ability of the hands is a treasure endowed upon us. We must recognize it and use it. We should let it serve our purpose of playing the piano. The articles we have written on technique training are entirely based on this theory. Technique training is to effectively and appropriately use the hands’ natural ability. Technique improvement is based on the natural ability of the hands. The capability to play the piano is built on the natural ability of the hands. This is what we consider as the most fundamental and crucial principle.
In comparison with classical music of earlier era, the music is now more profound, extensive, difficult and fast. Therefore some are of the opinion that the technique training should certainly be more complicated and difficult and the time required should be much longer. We think this opinion is incorrect. The training method now is of a much higher quality, which is more scientific, simple and easy, due to the natural ability of the hands has been fully utilized. This method can accommodate music of all eras and styles. We oppose mechanical, tedious, repetitious muscle training, which is detrimental; those who advocate it do not understand the natural ability of the hands and as a consequence, do not use it. These two opposing training methods are on different paths, leading to different results.
If a pianist can master the fundamental principles very well and discover their inner connections, he can use the principles in all kinds of technique. He is able to draw inferences about other situations from one instance; he grasps this one thing and will grasp everything. When he masters these principles, he masters all.
Here are some examples:
Arpeggios
To play arpeggios, one must grasp the legato method, which is to transfer weight smoothly between the fingertips. When there is some distance in between two keys, the wrist has to adjust to the angle of each finger’s position.
Some have the fingers stretch out and stay in the positions of the notes before playing them. We do not oppose extended hand positions, but it has a tendency to make the palms tense. So our suggestion is to consider in the first place, having the arm-weight go directly to each fingertip and transfer smoothly to the next ones.
Others also insist upon the thumb going under the palm to prepare for its next execution. We believe the finger which is playing right before the thumb has to be very steady, so the weight can be easily transferred from that finger onto the thumb. To overly stress placing the thumb underneath the palm could create un-called for and superfluous movements.
Octaves
To play octaves one must feel the bounce of the keys. Therefore to find the explosive force of the fingertips is most essential and important. Once it is found, the pianist will be able to feel the bounce of the keys.
How to practice octaves:
1 st step: Arm-weight Practice
Let arm-weight go directly to the fingertips in octave position, fingertips grip the keys; the weight goes down slowly, smoothly and evenly onto the key bed.
2 nd step: Relaxation Practice
Octave-playing can cause tension to the muscles of the hands. Practice relaxation exercises. (See article “Relaxation”)
3 rd step: The Weight of the Forearm
Let the forearm go ingeniously up and down, find the explosive force of the fingertips (in octave position) and feel the bounce of the keys.
4 th step: The Weight of the Palms
Lift the wrist and let the palm go up and down; feel the explosive point of the fingertips and the bounce of the keys.
5 th step: Octave Runs
Use one movement to play a group of four consecutive octaves in C major, practicing octave runs.
(We will omit examples of cantabile octave-playing )
Double-Thirds
This requires energy very focused on the fingertips; stress the gripping of keys by the first joints.
When playing fast double-third runs, the palm and wrist must be as relaxed as possible while keeping the initiative and agility of the fingers. The wrist flutters slightly up and down to help the fast running of the double- thirds. The wrist coordinates harmoniously with the fingers is a natural instinct and ability. Double-thirds can easily cause tension to the wrist; therefore special attention must be paid to the relaxation of the wrist. If the wrist is tense, one cannot play double-thirds at all.
We use the three examples above: how to play arpeggios, octaves and double thirds to show that once the principles are mastered, a pianist can use them creatively and thus enter the world of complete technical freedom.
