We must pass on from five-finger exercises to the technique of extended positions of the hand, such as are to be found in scales, arpeggi, chords, thirds and octaves. I propose here to speak of scales and arpeggi only, and shall first say a word or two about scales, for which the five-finger exercises I have just been discussing are, of course, merely a preparation. But the great difficulty of scale playing, which consists in learning how to pass the thumb successfully under the other fingers, without causing a break in the continuity of the sound, is absent in five-finger exercises, though through them the student learns the right way of holding the hand on the keyboard, so that it is always ready to do its work when called upon in the scales, and also the fingers are trained to exert the necessary pressure on the key.
To recapitulate the whole matter and condense it, the principle set up is that all control on the keyboard should be established by the fingers, the hand and the forearm, the wrist remaining entirely supple. This, in my opinion, applies to all finger technique, and is essential for arriving at a completely successful issue.
Care must also be taken not to allow any beating of time by the head or foot, as this may easily degenerate into a nervous trick, and certainly tends to encourage jerky and rigid movements of the body. It is a good plan to make the beginner, after each exercise that he does, lift the hand off the keys and shake it gently from the wrist, so as to ensure that the relaxation is preserved, and that there is no excessive effort or fatigue of the muscles or any cramped action whatsoever. I do not believe in striving to lift the fingers too high off the keys every time when striking each note, because, in a highly complicated mechanical instrument like the piano, every movement must be conserved as much as possible, and naturally any extra effort only tends to lose time, thereby impairing the velocity in fast passages.
Some people think that by teaching that the fingers be lifted very high they can get a clearer and more distinct articulation, but I do not agree with this, as I have always found from my own experience that if the wrist is relaxed, thus allowing absolute freedom to the fingers, they will articulate just as distinctly, and with much added lightness and quality of tone, if not lifted too high.
The most important elemental stage of thus holding the hands in a natural supple position, having been well initiated, by means such as I have just been trying to explain, the pupil will do well to proceed with five-finger exercises of all descriptions, until he has thoroughly mastered the position in question, and it has become a second nature to him to hold his hands thus. With a child beginner of from six to ten, after a month of practising for not more than ten minutes a day, if well watched, the hands, according to my personal experience, should be absolutely in order. The Five-Finger Exercises of Hanon are excellent in this respect for settling the fingers in the right way, and also will keep a child interested in the different groups of notes presented. I know of none better for the purpose of elementary practising.
This acquiring of the cup-like position of the hand will be found enormously useful later on, in the playing of scales and arpeggi, as it allows easy passage of the thumb under the other fingers. In connection with the striking of the keys by the fingers, I would further say that merely putting down the finger and letting it strike with its own weight, is no good, as the sound produced thereby is inadequate and uncontrolled.
My idea is that when lifted, the finger must be brought down with a certain amount of pressure upon the note which is struck. This pressure should be produced from the forearm and transmitted through the fingers to the key, the wrist being all the time absolutely relaxed. Later on, as the student arrives at a higher development of finger technique, the articulation can be exercised purely from the fingers, but in the beginning, in order to acquire a full round tone, the control must be taught from the forearm by means of pressure from that part.
Again, above all, I cannot too much insist upon the necessity for relaxation of the wrist,” and the rest of the body, for in it consists, I am convinced, half the secret for obtaining an easy and sure technique. It must also never be forgotten that as the piano is a purely mechanical instrument, the great object must be to produce all gradations of tone without the sound being either forced, harsh or stiff. Moreover, the cardinal principle in the production of such tone is that the body, and especially the wrist, remain in complete relaxation.
Nothing tends so much to hardness of tone on the piano as any rigidity in any part of the body. Also to obtain this most precious quality of flexibility, the articulation of the fingers must be entirely generated by the muscles of the hand, and controlled, as I have already explained as regards force, by the forearm.
The elbows should be held closely to the body, and the wrist dropped slightly below the keys. Being thus seated, the next matter we come to is settling the position of the hand itself. This should be as follows: The fingers should fall arched upon the keys, the knuckles raised, the wrist just below the keyboard, and the palm of the hand forming a sort of cup as shown above.
It is a very good plan with a beginner, to make him take an apple or a ball of similar size in the palm of the hand, hold it lightly with the fingers spread out round it, and then drop it out of the palm as the hand descends upon the keyboard. The hand will then retain the cup-like position with the fingers spread upon the keys.
Having thus described what I consider the perfect position of the hand, I will now proceed to explain how to exercise the fingers in order to retain that position, and make it become a habit. This will be arrived at by practising in the following manner: / Press the fingers down well arched on to five consecutive white notes, and hold them down altogether. Then lift each finger in turn, holding the others down meanwhile, and strike the key with the lifted finger, taking great care all the time that the hand is perfectly supple and relaxed, and that nothing is stiff/^This exercise, done every day for five minutes by each hand separately, will soon give the fingers and hands a perfectly easy and natural position upon the keyboard, and preserve the cup shape of the palm of the hand.
The first thing, then, that presents itself is the position of the body when seated at the instrument. With regard to this, the pupil should be seated with his chair exactly at the middle of the keyboard, and at a medium distance, that is to say, neither too near nor too far, but so that his fingers reach and fall easily and naturally upon the white notes when he is sitting upright on the front half of the chair.
On no account should the pupil be allowed to lean back, but always be seated on the forward portion of his seat. The seat should be sufficiently raised so that the pupil’s elbows at their natural angle will be almost on a level with the keyboard, if anything just a little below it as shown in above.