Training for Feel of the Keyboard

The development of the feeling for the keyboard is important from the start. From the first lesson, the hand positions should be made a matter of feeling the keys rather than merely seeing them. This development of the muscular sense continues throughout the training of the pianist, and eventually becomes almost an automatic reflex action. The ability to feel scale and chord hand-positions coordinates with sensing the aural effects of the tones produced, an essential in fluent sight reading.

The first step in playing by imitation is to establish the hand-position. The five fingers of the right hand are placed over the first five key of the scale involved. From this hand position it is a simple step to playing, by combined ear, eye and directions, the five finger pieces at the elementary level. The notation is then shown to the student as a picture of what he has played.

The same procedure is then taken with the left hand.

Next there is an alternation of hands, the first phrase being played by one hand and the second phrase by the other.

From this first experience in playing by imitation the student progresses to the subsequent steps of learning piano, each new element being presented through imitation. It is important to demonstrate the correct hand position, fingering, phrasing, and expression. From the first lesson the student should be made to realize that good piano playing demands thoroughness and attention to detail. He should be encouraged to think of the piano as a means of self-expressing, and that by beautiful self-expression can he find pleasure in his music.

For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.

Keyboard Posture

The correct use of the arms can be achieved sooner than a perfect hand position, fineness in finger action and control. Almost all children tend to play with free arm movement and unconscious use of the weight of the arm. In the beginning of piano instruction, emphasis should be on freedom and ease of arm movement rather than over-precision in hand position and finger movements.

On the other hand, the teacher should illustrate the principles of correct technique in easy, graceful arm movement, good hand position and well controlled finger movements. The basis of the child's early technical development is imitation. So, he should have an opportunity to observe and imitate good models to form his ideal of good piano playing. The following will help establish good technique.

Height of chair at piano. This should be arranged so that when the hand is held in position on the keyboard (keys depressed), the wrist and forearm are horizontal. In testing for correct height of seat by means of quiet hand position on keyboard, use the below guidelines.

How to sit. The player should sit somewhat forward on the chair, the body upright from the hips, poised very slightly forward, never bending over the keys. He should never rest on the back of the chair while playing, and should not rigid in the hips.

Distance of player from keyboard. The player should sit at a distance from the keyboard so that the upper arm hangs vertically from the shoulder, never with the elbow further back than the position.

Use of arm. The arm should be used freely from the shoulder. All movements should be as natural as possible and free from affectation. Between successive chords, the hand must be lifted, by the arm, slightly above the keys. In melodies the same release is to be used at the ends of phrases. When coming away from the keys let the hand hang, relaxed, at the wrist; never swing the hand back at the wrist.

Hand position. The standard position of rounded, arched hand with curved fingers and curved-in tip of thumb is recommended. Hold the hand quiet when testing for height of seat and make sure the thumb is held absolutely horizontal. The child's first approach to correct hand position should come through observation and imitation of the teacher's use of hand and fingers.

Use of fingers. As no formal finger exercises are usually given in the first year with younger children, control of finger movements should be first approached through striving for legato in melody playing. If the melody is played legato, then the finger attack and release are correct as to timing. Here again, gradual improvement is the aim, guided by the teacher's example.

Good tone. This means a quality of tone that expresses the message of the music to be played, such as singing tone in a melody, a firm tone in a march, etc.

Fingering. Fingerings are indicated with definite plan and care in first year music books. In five finger position, unless indicated otherwise, the next finger plays the next note in all diatonic passages. A repeated phrase is always played with the fingering indicated upon its first appearance.

Accuracy. Accurate, clean playing should be strived for at all times. The student should aim for the middle of each key and develop thereby an accurate sense of finger spacing.

Dynamics. "Louder and softer" can be attained through imitation, and through singing the songs and then playing them in the same spirit. Every composition has a climax, and every phrase has its own secondary climax. It is through dynamics and phrasing that, in expressing his message, technique serves the performing pianist.

For more information about piano classes NJ, contact Barbara Ehrlich Piano Studio.