Photography As Art

     

This is, of course, off topic, but I wanted you to know about one of my other passions, photography. I have a new site where you can browse the galleries and have a look at my efforts as an art photographer. At present, there are three galleries, Moods, Urban Contrasts and Gardens. Eventually there will be a series on instruments and other musical topics. Let me know what you think. 

"Kiss of the Stone People" From the Moods Gallery

     Yes, you can also buy (blush) prints and other merchandise, including note cards that you can design yourself, mugs and many other gift items. Oh, are the holidays coming up? Have a look: Stannard.SmugMug.com.

On Finger Evenness

     A student writes: "I don't know what the exact

term is, but I am referring to say each note in a scale played with the exact same intensity and touch...I struggle with this. It seems that my 1st and 3rd fingers always hit a note stronger than say the weaker 4th and 5th fingers. When I really concentrate, hands separate and glaring down at my fingers with the tempo significantly slower, I can get a smoother and more equal passage down...but it goes out the window as soon as I increase the tempo. What are some good approaches towards tackling this issue?"

     The response: Unevenness is caused by isolating the fingers from the hand, by lifting them away from the hand. In order to control the weight evenly, the fingers, hand and forearm work as a unit in a coordinate manner, dropping into the key, not pulling away from it. There is a shape to the lateral movements that propel us up and down the keyboard. 

     Simply put, this shape allows the forearm to be behind the each finger as it plays. Try this as an introduction to shaping: In a five-finger pattern, allow your forearm to rise slightly behind each finger as it plays, the highest being at the point where the longest finger plays (3). Then, allow the arm to drop slightly behind the shorter fingers (4

and 5). The fingers are not independent agents, but they can be made to sound that way by allowing this coordination. (There is much more to consider, of course, particularly as the thumb crosses.)

     Any solutions you come up with must feel easy. Otherwise, they are not the answer.

Why is the Fourth Finger the Weakest? : The Question That Won't Die

  The fourth finger is not weak; it is misunderstood. It can feel just as "strong" as the other fingers if used according to its design. 

No amount of so-called strength-training exercises will produce positive results, but will more likely cause harm. The fingers are not independent agents, but they can sound that way if it is understood how to use the finger/hand/forearm as a unit. Simply put and without going into great detail here, the fingers do not pull away from the hand individually but rather act as a unit,  dropping into the key from above with the assistance of the forearm. This is known as forearm rotation.

   Do not try to strengthen your fourth finger because it is not weak!
    Another student responds:
    "I don't understand how this works in the context of, say, a Bach fugue, where it seems to me that all of the fingers often need to be independent, because there are all kinds of complex situations involving some notes being held while others move. If several fingers need to be held down while others need to play notes, how can you rotate the forearm to make it happen? The very first study in Clementi's Gradus [Ad Parnassum] is devoted to this very kind of thing, and I don't understand how one could play it via the method you describe."

   To which I respond:
   The sort of rotation you are probably imagining is one in which the direction of music changes with each note, as in an Alberti figure. This is usually what people think of first as forearm rotation. The idea is much subtler than that; it is an underlying tool that permeates all of what we do at the keyboard. The first etude of Clementi's Op. 44 is very easy to do using forearm rotation. In fact, trying to do it without understanding rotation is potentially harmful, in that the tendency might be to pull some fingers away from the hand while pressing some downward. That exercise is also unnecessary. As are all such exercises, in my view. In contrapuntal music we aim to make voices sound independent. We do not achieve this by separating our fingers from our hands, that is, by lifting them away from the piano.

   For a more detailed explanation, see other articles in this blog.

The Role of the Forearm in Piano Playing: Getting to the Bottom of Things

A student writes:

1. How is it possible to establish the right amount of forearm weight to be used when playing, without falling into the trap of the so called "relaxation"? I mean, starting to loose fulcrums in the shoulder, elbow or other fulcrums.   I very

often experience right shoulder pain, and am not sure if this is due to a break in a fulcrum or not staying down properly on the key bottom.

2.  When we play a key, we do it trough coordinate forearm/hand/finger motion, using the forearm weight to overcome the key's resistance. Then, we balance the weight on the bottom of the key (at the moment very hard for me to balance properly).

Then, when we want to play another key we use the rotation to transfer the weight of the forearm.

My question is: while we do a preparatory swing in order to play, let's say from a "C" with the 2nd finger, to a "D" with the 3rd finger, are we still balancing on the 2nd finger?

When is the right moment to let the weight go from the 2nd finger and swing it to the 3rd?

My answer:

   

    I don't think I can answer your questions completely without working with you in person, but I'll give you some things to think about. Your first question is a very good one and it is the first issue I deal with when introducing these ideas to a new student. Simply put, you need to find out how much effort it takes to just stand on one note, feeling the connection from the tip of the finger that is playing all the way back to the elbow. Keep in mind that this unit is "like a tennis racket," as Taubman would say, though it is not rigid. The wrist is level, like a bridge between the hand and forearm.  It takes some effort—not much—and this is why the concept "to relax" is not useful. You must get to the point of feeling comfortable with this balance before going on with the transfer of weight.

     Try this: Practice dropping your arm into individual keys, as a unit, using one finger at a time (2-5) landing straight, upright. Stand on each finger for a few seconds and ask yourself if you feel you could stand there indefinitely—not pressing down, but not lifting up. The best analogy I can think of is that of standing upright on your feet at ease, the way I learned to do when I was in the army. The drill sergeant taught is to stand without locking the knees, crucial to being able to stand for a long period of time without fainting.

     You should not experience shoulder pain from

playing the piano. Again, without looking at you I can't really diagnose accurately. However, first check the height of your bench; the elbow should be level with or slightly above the key bed. Then, try dropping your right arm down to your side and notice how the hand/arm unit feels. Raise it up from the elbow and rotate the hand toward the thumb side and place it on the keys, keeping that same, closed and at ease feeling. You should now be in a perfect position to play, with all the fulcra available. It is from this position that you should explore what it feels like to stand on one note. Remember, the hand/arm unit can be at any angle with the keyboard as long as it is straight with itself.     

  Your second question addresses the transfer of weight from one key to the next. I liken this to walking. At some point

when we lift a foot and attempt to propel our bodies forward, one foot leaves the floor and all weight is on the other foot. So, just as in walking, when we swing away from one note toward another note—as in C to D with 2 to 3—at the moment 3 arrives at the bottom of the key, 2 releases, thus having transferred its weight forward. Note that if a finger strikes a key but doesn't actually feel "complete," that is, doesn't really arrive at the bottom of the key even thought it sounds, the arm registers what I call a sort of bump. This is very much like what happens if we attempt to place one foot in front of the other without transferring the weight. We call this a limp and the result of continuous limping can be the involvement of other muscles trying to accommodate the lack of coordination. At the

keyboard, this limp translates as holding, or hovering above the keys and could be a source of shoulder discomfort. 

     So, the simple answer to your question is yes, the weight is still on the 2nd finger until its rotation is complete, and has transferred its weight to the bottom of the next note.

Beethoven Sonata, Op. 81a. Das Lebewohl. Les Adieux.

     A student writes: I have a weakness at playing thirds which I can't understand. I can descend in the right hand 53 - 42 - 31, but climbing especially 42 to 53 feels totally unnatural and my fingers feel paralyzed when I try to play at speed. For example Beethoven op 81a (Lebewohl) allegro, I can play the rest of the movement up to speed (including bar 17 which is supposed to be much more difficult) but I can't play those rising thirds.
     Is there something about the technique I might be missing? Is there an exercise that might help? I doubt that simply playing rising thirds is going to work as I have practised that bar hundreds of times and still can't play it.

     The thirds is question are in measure 3 above. (Please excuse the water mark. It's a long story.) This is an infamous passage, although most pianists have trouble later on, with the repeated chord. 
     Here's my answer: Yes, you are missing an understanding about the technique. No, you do not need exercises. (Someone in the forum suggested Dohnanyi exercises, all copies of which should be burned in a ritual bonfire.)

     Fingering starting with A-C: 1-3, 2-4, 1-3, 2-4, 3-5. From your brief description it sounds as if you are trying to play the thirds as separate units, that is, by articulating with up/down arm or hand movements or by isolating your fingers. From the B flat-D (2-4), feel hinged on 4, release 2 and rotate slightly in the direction of the music (right). Then, turn back to 1-3 (left). The third finger will cross over 4, the principle being that a longer finger may easily cross over a shorter finger. 
     You mention that 4-2 to 5-3 feels unnatural. Again, it's likely that the rotation is missing. Feel hinged on 4, rotate to the right, turn back to 5-3. This has the effect of playing 4 to 3. Alternatively, moving from 4-2 to 5-3 can be accomplished easily by shaping slightly in the direction of in, toward the fallboard as you move to 5-3. These movements are much easier than they sound when described in words. A demonstration is much easier to grasp.

Stage Fright: Them or Us

     There are two possible scenarios for dealing with performance anxiety, otherwise known as stage

fright. One scenario is that we allow the audience to draw us out to them. We do this by buying in to what might be on their minds, by focusing on them. What do they think of me? Do they like me? Do I seem foolish and incompetent? This line of negative thinking  also includes the feeling of not being good enough, which is another way seeing ourselves from the audience's point of view—a point of view that is spurious at best. The audience has come to enjoy a concert and are not looking for failure. 

   

 The other scenario is one in which we on the stage draw the audience to us by focusing on what it is we have to say. Have you ever noticed that if you stop on the sidewalk and stare up at something, other passersby will invariably stop and look to see what it is you have discovered? This focus is a powerful draw.  If we can get to the point where we have prepared thoroughly enough technically and made clear choices about the meaning of the music, that is, what we want to share with the audience, then we will be able to draw them to us on the stage. When we walk out

and begin to bow, our minds should already be forming the topic sentence, so to speak. What is the first idea we intend to present and what does it feel like physically to play those notes.

     This is for some performers easier said than done. It requires calm at a time when the body is gearing  up for a fight or flight response. So, in preparation for walking out on stage in a state of calm focus, practice conscious breathing back stage. This is a focusing on the breath, slowly inhaling and exhaling. This can slow the pulse and increase the chances of finding the right tempo at the start.

     Butterflies are normal. Every performer has them. But I put this in the category of excitement at the opportunity to share something important with others who are eager to hear what I have to say. We want to be excited but not fearful. We can achieve this by focusing on the message and the means of delivery and not on the messenger or the listener.