We all want to make progress on the piano, and there are many things you will want to progress with, but it is not easy to determine the factors that are most important. In the quest to improve, we should always bear in mind that although there are many things we can work on through hard work, diligence, knowledge and practice, there are also many others that depend on factors beyond our own capabilities; namely those factors affecting the instrument itself, such as;

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• the general condition and age of the piano

• the touch weight of the keys

• the response of the keys and the repetition speed

• the width of the keys and the size of the octave

• the tonal quality produced by the strings and hammers

• the dynamic range

• the volume 'ceiling' of the piano

• the acoustics of the room

• the response of the pedals

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I think it is vitally important that we understand what we can and cannot control at the piano. This is important when practicing, but especially important when performing in a concert on an unfamiliar instrument. As an example, if a piano has a volume 'ceiling', you have two options; to either stay below the level of volume that causes the sound to deteriorate, or to risk the sound deterioration for the sake of volume. If the sound quality of the instrument is poor, then it doesn't matter how well you play, or how good your technique is, you will never change fundamental flaws in the strings or the action. In this situation it is important to not blame your own technique. If the piano does not allow for quick repetition, you need to know as soon as you can if you are performing a piece with a lot of fast repetitions. There may be notes that do not sound properly, or that dip or spike in volume, so it is always a good idea to run through a chromatic scale, playing every single key at more or less the same volume, listening carefully to see if any notes stand out. Don't blame your technique if it is really the piano that is at fault.

 

Of course every piano is unique, and pianists need an array of skills in order to be able to adapt to a piano they are unfamiliar with. Incidentally, those who are skeptical about narrow-key instruments often express concerns over adapting to key-size, but adapting to different pianos is really what pianists do best! It is what pianists have done since the invention of the piano. I think we can all agree on this, however, it is important to know what you are up against and to assess your progress with the condition of the piano always at the forefront of your mind.

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In my opinion, touch weight, and the response of the keys, are factors that are equally as important as selecting the best size keyboard for your hands. Let me begin by saying that this topic is a bit of a minefield! Touch response and the supposed 'weight' of the keys is highly subjective, and many factors are involved, which I will not go into here as you could fill an entire technical manual with such information, but I think that we can make a general assumption that smaller hands often require keys that are lighter in weight. A narrower keyboard will allow for large stretches to be made with greater ease. It should also improve fluency and speed, as the hand and fingers can arrive at the correct notes earlier, which of course is critical when playing at faster tempos. If you match the correct key-width for your hands with the best touch weight and response of the action, then I believe you have the best chances of success (from the admittedly limited perspective of one tailor-made piano!). It is worth baring in mind here that the typical weight of key depression has changed over time. Hunter J. H. Fry, in his article "Overuse Syndrome in Musicians" for the Medical Journal of Australia, 1986, has found that the key weight has changed from around 23g in an early 19th-century grand, to 45g for a late-19th -century grand, and eventually 50 - 60g for a modern grand. As pianos increased in size, weight and string tension, the piano action changed along with it to provide the power and control needed for larger instruments. A heavier and deeper piano action has been the trend since the late 19th century and this has developed hand in hand with the increase in key width.

 

There are a few innovative manufacturers who are leading the way with some fascnating modifications to the typical grand piano action. Steingraeber, a wonderfully inventive German piano manufacturer, currently builds pianos with a special Mozart lever, that decreases the key dip when activated by the knees. There is also a pedal by Fazioli that moves the hammers closer to the strings. Anybody who has played an upright piano knows how the soft pedal, when activated, similiarly affects key weight by shifting the position of the hammers closer to the strings, thereby taking some of the weight off the jack. When the weight of the action decreases, fluency increases.​​

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There are also physical and mental limits to our individual capabilities as pianists. We must be realistic about what is achievable, but at the same time we need to stay positive and always look to improve. It is all too easy to blame lack of progress on lack of knowledge, lack of technique or lack of the time and diligence it takes to acquire both. I like to take a more realistic approach. Yes, knowledge, technique, and dedication are vital, but there is so much more to consider. When we play the piano the whole body involved but also your mind and your emotions, how you see and perceive music, is absolutely paramount. Your fingers, hands and arms can do nothing without instructions from the brain. Those with prodigious talents seem to have the best of both worlds and often share certain qualities, such as;

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• an incredible memory capacity for music. Many individuals share the ability to rehearse music in their head without even playing a note. Music is easily stored in the brain and can be accessed with little to no effort

• astonishing finger independence, suppleness, and mobility. The fingers just simply do what the brain instructs them to do, without much need for specific training. Many great pianists have acknowledged this aspect, such as Yujia Wang.

• lightning-fast processing speed. This can encompass the ability to sight read and learn music incredibly quickly from a score. The fingers can move at incredible speed because the brain can move at an incredible speed

• intelligent musical awareness. This involves the way we 'think' through the music as we play. Highly prodigious musicians seem to show a high level of intelligent observation regarding musical structure, phrasing, harmony, and also a high level of emotional intelligance

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For some performers, these skills are so highly developed and in some cases so automatic that they surprise even the pianists themselves. The well-known Argentinian pianist, Gabriela Montero, is a case in point. Gabriela is a talented classical pianist (who incidentally has a large span - see my page on hand spans), but she is also a pianist who can improvise in almost any style with ease, to such a degree of proficiency, yet at the same time requiring virtually no effort or strain. She has described this ability as almost switching off during a performance and allowing a part of her brain to switch on so that she can simply sit back and observe, like a spectator, as it happens in real time! She cannot explain how this happens, it just happens! I want to stress here that, according to Gabriela, there is typically zero preparation for these improvisations. This illustrates how there is still so much that is unknown with regards to musical ability.​

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Bringing this back down to earth for a moment, I cannot help but think that the sort of landslide improvements at the piano we all dream about might only be achieved by improving things away from the piano, i.e. by moving the body through physical exercise, working on memory training exercises, activities that increase processing speed, listening to music rather than playing, or perhaps learning a different skill that involves finger dexterity and fine motor control. I have often thought that within my two hands and two arms lies all the physical pianistic abilities that I will ever need throughout my life, given my own physical limitations. All I need are certain keys that will unlock these abilities. In oder for these skills to be unlocked in the physical, they need to be first unlocked mentally. Of course, music literacy is of fundamental importance in this goal. Gaining an in-depth knowledge of music theory, harmony, analysis, writing music and the history of music are all essential for the developing musician. WIthout the many years I have spent in the study of music I would certianly not be the musician I am today, but there are many other activities that would be helpful for the pianist. Here are a few suggestions: 

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• The benefits of teaching music by moving the body through physical exercise have long been known. Dalcroze, for example, can be highly effective at helping the student to achieve a sense of pulse and rhythm by using the whole body in movements to music. Any physical exercise that involves freeing up the body, stretching the muscles and improving supplness can be helpful for the pianist

 

• ​Reading books involves many of the same skills pianists require for sight reading. It is also great for developing an active imagination and memory​

 

• Learning another language is always high up on lists of activities to improve brain function. It stimulates so many different areas of the brain. Music has similar quailities to language, so any brain training in this area is advantageous​

 

• Problem-solving and strategy games, such as Chess, are great tools for improving memory capacity and processing ability. Timed games in particular could really help to improve processing speed​

 

• Word puzzles and mental maths are great for challenging your brain. Maybe try learning arithmetic on an abacus such as the Japanese Soroban. You perform calculations by sliding wooden beads on rods. This has the added benefit of improving finger dexterity

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• Arts & crafts of any kind will always be helpful for developing fine-motor skills, creativity and mental focus. ​​

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• Co-ordination exercises such as juggling, sports, gymnastics or dancing are great for working the entire body, building general strength and stamina

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• Weight training could help improve arm, wrist and finger strength, although you do have to be careful when targeting the fingers or when aiming to improve grip strength

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There are many more activities I could list here, but the main thing is to never shy away from learning new skills. You never know, it could be just the ticket for unlocking the next stage of your progress on the piano! Wherever the journey takes you, I hope it is as rewarding as it has been, and still is, for me.

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by Anthony Fountain

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