We are often told: “Always play with curved fingers”, or advised to “Imagine that you are holding a tennis ball, an orange or other rounded object”. How true is this?
The issue of finger shape has been hotly debated amongst writers on piano technique. Malwine Bree, in The Groundwork of the Leschetizky Method states (page 2) that the white keys should be played with the fingers curved, and (page 5) that the black keys should be sounded with straight, outstretched fingers, particularly in forte playing. The many photographs of Leschetizky’s hands playing various chords clearly illustrate this statement.
Heinrich Neuhaus, in his excellent and very readable book The Art of Piano Playing (page 84) praises Chopin’s habit when teaching beginners, namely to place the hand on a whole-tone scale, E F# G# A# C, with the fingers in a relaxed, outstretched position, before embarking on the more difficult white note position with its curved fingers. James Bastien seems to have followed this example in his piano primers, which begin with pieces and improvisations on the black keys.
Josef Gat in The Technique of Piano Playing (page 129) comments that much of the rapid passagework of the Romantic period, especially in Chopin, is written mainly on black keys. He points out that the small muscles of the hand, or “interossei”, which are used in velocity playing, function more efficiently when the fingers are outstretched. He also comments (page 139) that we should not teach a constant hand position, but should cultivate the ability to change position according to the sequence of black and white keys.
The fingers probably work best in their natural, relaxed shape, namely a gentle curve, as when we are walking with our hands hanging by our sides. However, in this position, they are very inept at negotiating the complex patterns of black and white keys found in most music. They become stuck between the black keys, and the thumb may even fail to reach the keyboard. Therefore we should practise exercises which specifically address the matter of changing from a curved to a straight position and vice-versa, as well as scales and arpeggios containing awkward combinations of black and white keys, as in the case of B flat minor. One good exercise is the un-tuneful arpeggio shown here in ascending form:
Right hand: C Eb G Bb C E G# B
Left hand (simultaneously) A C Eb G A C# E G#
In addition to changing hand position according to the sequence of notes, we can also change the shape of the finger during the act of striking the key. On this point, there is much less agreement between the various writers. Matthay, in The Visible and Invisible in Piano Technique, (page 73) outlines two conflicting options, namely, to straighten the finger during the downstroke, or to bend it, and strongly favours the latter option. I beg to intervene at this point, as I have tried both methods at length, and find that the first one (extension) is far more natural and effective.This method is also recommended by R.Gerig in his excellent book Famous Pianists and their Technique, in the chapter on Arnold Schultz. Josef Gat (op. cit.) seems to contradict himself on this point, suggesting that, although pianists who extend their fingers towards the keys can achieve brilliant results, they have to practise for very long hours, as they are using the small muscles of the hand, which tire easily. My comment would be that this may be the case if the small muscles are supporting the weight of the arm, as in Matthay’s method, but not if the arm is supported by the shoulder muscles, as in the teaching of Leschetizky.
Richard Beauchamp, in his article “Curved Fingers – and Tension?” in Classical Piano Magazine (March 1997) suggests that fingers should be allowed to unbend as they approach the keys. He points out that Matthay’s practice of “gripping” the keys activates a common muscle in the forearm which inhibits independence and causes stiffness. He also states that the small muscles of the hand, used in the “extension” method, are the most rapid and touch –sensitive at our disposal. In addition, the idea of “lengthening” the fingers is in accordance with the principles of Alexander technique.
My conclusion is that we should not adopt a fixed hand position, but should constantly change and adapt our hand according to circumstances. Furthermore, the fingers should not be treated as rigid levers, but should actively reach out for the keys. There is more to be said about the release of exertion after sounding the tone, and the overall trajectory of the finger cycle, but these will be reserved for a later article. The above observations are the result of several decades of experimentation, reading and observing pianists in action. It is remarkably difficult to analyse finger technique, due to the fineness and rapidity of the movements concerned. Many teachers advocate certain principles (including the fixed hand position), but play in a completely different way, although they themselves are unaware of the discrepancy.
An exception to the above advice would be the case of children whose fingers “collapse” into a concave shape. Here, it is probably better to insist on “curved fingers” until such time as firmness of touch has been established. A further qualification would be that the longer third and fourth fingers will still be very slightly curved, even on the black keys. The thumb is a total exception, and behaves in an entirely different way from the other fingers. Most people keep it fairly straight, and close to the keys.
An effective technique should feel free and comfortable. My own experience of changing to the above way of playing, after years of working in a cramped position, with strongly curved fingers, was one of liberation, as though the fingers were flying. Instead of having to devote half of my attention to the physical effort of performance, I was able to focus all of it on the act of interpreting the music.
