Basically I haven't practiced ANY scales or arpeggios since I got my grade 8. I don't even know how I got my ATCL. Due to some reasons, I've decided to treat piano seriously. The first step is to perfect my technique.

I have to admit that I have numerous technical problems. But I guess the most serious one is passing of the thumb. I started practicing scales and arpeggios again months ago and found that notes playing with the thumb is a bit accented. I got the same problem while learning Chopin's Etude Op 10 No 8 (right hand's arpeggio).

I tried to practice scales and arpeggios slowly to do the 'mute preparation'. I also practiced chromatic scales using only the thumb and pointer as suggested by my teacher. I reckon I do improve a bit but the problem of my thumb is still...em....serious.

Any ideas of how to solve the problem? I don't mind doing numerous monotonous exercises as long as it helps!






One off-topic question:
How do you allocate your practice time? I mean...how much time do you spend on scales, arpeggios, various finger exercise and your own repertoire respectively?

I am given 3 long pieces plus one Chopin Etude to do. (actually there are some pieces pending) I think I need more technical exercises. But my teacher focuses more on the pieces I'm working. I really can't allocate too much time practicing both technical exercises and my pieces given my heavy school work.

Thank you so much!

First, you should be discussing this with your teacher. You are right, there should be no accents. Instead, you should have 88 fingers. There are various exercises that deal with this problem. One of the passing exercises (for the RH) is to play (in the key of C), the first two notes with the thumb and the forefinger, then play the E and the G simultaneously with the thumb and pinky. Play the pattern twice. Then increment by one note; go up and then back down the scale. Then do it again but playing the first three notes, and F and A with the thumb and pinky. Play twice, then up and down the scale. Then skip a note by playing the first three notes (fingers 1,2 and 3), the the G and B with fingers 1 and 5. Then skip two notes (play A and C with fingers 1 and 5). Then play the first four notes with fingers 1-4, and notes G and B with fingers 1 and 5. Then skip a note after the first four notes and play A and C with fingers 1 and 5.

Of course, the left hand is the mirror image of the right hand. Play each pattern twice, then increment one note. After one octave is reached, reverse to the beginning location.

Starting with the easier, then gradually going to the more difficult will improve your passing skills.

Hop

I've recently practised all scales and arpeggios by lifting the fingers as high in the air as possible from the thumb, with every change in position. You feel the thumb muscle pushing them right up. I'd only do this ultra slow and start in moderation though. It may sound counterintuitive, but getting the thumb working like that has lightened it up more than I can describe. It moves with more ease and less effort than ever before.

Do you mean E on the thumb and G on the pinky?



Do you mean C D (E and G) A (E and G)? What finger for A? 4th?



I think I understand for the rest of it. Thanks for your help! I'll try it now

Do you practice in the same manner (i.e. lifting the fingers high) for other finger exercises/etudes? I don't know...I thought we are meant to make our fingers move as little as possible.

You are supposed to strive for concise movements, yes. That's why it's so important to sometimes feel what the muscles are actually doing through big actions. Then you have the sensitivty for small but efficient ones. This wouldn't work in the same way from other fingers. The muscles that open the hand while resting on the thumb are very different from those that raise while you are resting on other fingers. The action is felt more in the thumb than the fingers themselves. I do practise lifting the fingers on those at times (again to test the balance on whichever finger has been depressed) but the overall feel is very different to from the thumb.

When I was working on Op. 10 No. 8, I was actually told by my teacher not to cross over the thumb! It felt strange at first, but it worked..

That's also what I was told by a pianist I know. Felt weird as well, especially when practicing without pedal. I literally still don't know how it works.

It has to do with the way it's phrased. Chopin accents the first note in each group of 16ths, and you can't get that effect if you cross over the thumb like you were playing normal arpeggios.

Play C,D consecutively with fingers 1 and 2. Then play E and G simultaneously with the thumb and pinky.
Do it again. Then play D,E consecutively with fingers 1 and 2. Then play F and G simultaneously with the thumb and pinky. Do it again. Keep going until you reach the C an octave higher than you started.

After you can do that, go to the next most difficult. Play C,D,E consecutively with fingers 1, 2, and 3. Then play F and A simultaneously with the thumb and pinky. Do it again. Then play D,E,F consecutively with fingers 1,2, and 3. Then play the G and B simultaneously with the thumb and pinky. Continue up the scale until you reach the C an octave higher than you started.

After you can do that, go to the next most difficult. Play C,D,E consecutively with fingers 1,2, and 3. Then skip a note; play G and B simultaneously with the thumb and pinky. Do it again. Ascend the scale.

After you can do that, go to the next most difficult. Play C,D,E consecutively with fingers 1,2, and 3. Then skip two notes; play A and C simultaneously with the thumb and pinky. Do it again. Ascend the scale.

After you can do that, go to the next most difficult. Play C,D,E,F consecutively with fingers 1,2,3,4. Play A and C simultaneously with the thumb and pinky. Do it again. Ascend the scale.

Its unlikely that you will be able to do still more difficult exercises, but you could skip one or two notes on the last exercise.

Of course, the LH mirrors the Right Hand. Do each hand separately.

Hop

I think I was unclear about one part of this passing exercise. The revised/added part is in bold:


Sorry for the misdirection. Of course, this is repeated in the other patterns as well. Start with the thumb on the lowest note, and return to it. Play from that lowest note twice. The increment a note. Continue until you reach an octave. By skipping notes, etc. you can see that this exercise becomes quite difficult. After doing some of the more difficult ones, you will find that when you play scales the thumb will tend to pass under too well and will play the wrong note because it passes under so well!

Hop

In playing scales and arpeggios, the thumb needs to move under the fingers a)moving from the "thumb joint" (the joint at the base of the thumb, closest to the hand) b) the hand/wrist should NOT turn when the crossing occurs. Instead, as soon as the thumb plays a note, it should immediately begin to move under while the nearby fingers are playing their notes. In this way, the thumb will arrive on its next note in time to play it. While that note is being played, it remains only to -- using the thumb as the "base", holding it firmly on its note -- move the fingers/hand laterally to play the next series of notes.

I hope this helps/ Please don't hesitate to ask for clarification!!

I think Czerny's The Art of Finger Dexterity has some exercises you might find useful to solve your problem, or at least improve it... Have a look at them...

I concur. However, you may find that when initially doing the passing exercises, you do have some hand/wrist turning. Try to minimize it, and strive to eliminate it with practice over time.

Hop