Alternating Between Pushing/pulling In Op. 25 No. 12

Just found a rather interesting application of the difference between pure finger pulls from the knuckle and acts of extending the finger out. While I've been experimenting with both, I hadn't yet found any particularly obvious places where going from one style of movement to another in a short space of time is serves a huge purpose. However, I've found a particularly good way of using these to change position in op. 25 no. 12. When the right hand goes up, using a pure pull from the fifth finger means that the reaction contributes substantially to pulling the thumb towards the next note. It's particularly good if you let the 5th finger go marginally off-line. By aiming it's pull marginally to the left, the rest of the hand and arm is passively dragged more to the right in response to the reaction. It helps "close" the hand- so the thumb can come notably towards the note without release of the 5th. However, on the way down, I've found that an extension is much more useful from the 5th. In this case, it actively helps the hand to go from closed to open- basically throwing the thumb across and opening the hand back out. In the left hand the whole thing operates in reverse- so the 5th extends on the way up and pulls on the way down for an equivalent effect. I've found it's very useful to practise everything both ways- but this particular combination of pushes/pulls is proving very useful. At first I feared it would be hard to coordinate, but I only started trying this today and it's already starting to feel extremely natural- and indeed far easier to do with real legato than whatever I was doing before. I'm starting to wonder if there are many other places where there is particular value in alternating between qualities. A pull of the 4th finger is also very good for dragging the thumb across in diminished/dominant 7th arpeggios. I have a feeling there are probably many useful applications, that can come from understanding the differing reaction forces that correspond to the two different finger motions.

As always, an interesting post. I've just been playing around with this on a table top. I'm in complete agreement that pulls are useful for contracting the hand and extensions useful for extending. I guess this is the same as what we do when we use the thumb to move the hand, just on the opposite side of the hand. There also appears to be the same function with the other fingers, though in a less obvious way since they are not at the extremes of the hand. I'll report back if I find any other specific uses.

As always, an interesting post. I've just been playing around with this on a table top. I'm in complete agreement that pulls are useful for contracting the hand and extensions useful for extending. I guess this is the same as what we do when we use the thumb to move the hand, just on the opposite side of the hand. There also appears to be the same function with the other fingers, though in a less obvious way since they are not at the extremes of the hand. I'll report back if I find any other specific uses. Yeah, it's a bit like when passing the thumb under in scales. The more active the thumb movement there, the easier it is to get hand and arm to realign around it- rather than have to crank them over in an additional movement. I think this is a big factor in decent thumb under scales. You can push the limits of speed a lot further before having to resort to thumb over, if the thumb flicks the rest of the hand around quick enough. I'd noticed that you can get a similar effect from 5th finger pulls when ascending in op. 10 no. 1, although I'd never thought much about the benefits of consciously planning to alternate in a short space of time, for specific notes. I think the same applies there- where extension actions are better on the way down. I think it is primarily to do with opening/closing issues- although it would be interesting to see if there are many other situations where the selection could result in a notable technical advantage or disadvantage. A separate place where I definitely favour pure finger pulls is in big chords- where they are very well complemented by an extension action of the thumb. Do report on what you find anywhere else. I was surprised by just what a big change this made to the Etude, in just one day, so I'm going to carry on looking for other places where this might be an aid.

I had a thought about a possible use, but haven't quite got the hang of it. The idea is to extend the fifth finger in an octave and pull with the thumb to facilitate a leap from it (e.g at the beginning of Rachmaninov Op.23 No.5). My difficulty with this is that I haven't spent much time working with extending the fingers, so doing an extension and a pull at the same time is fairly hard work. I'd be interested to see how it works for you.

I had a thought about a possible use, but haven't quite got the hang of it. The idea is to extend the fifth finger in an octave and pull with the thumb to facilitate a leap from it (e.g at the beginning of Rachmaninov Op.23 No.5). Do you definitely mean that way around? I've done a lot of things where the fifth pulls and the thumb extends. I can't quite get my head around the reverse at the moment- although I'll have to have a go.

Do you definitely mean that way around? I've done a lot of things where the fifth pulls and the thumb extends. I can't quite get my head around the reverse at the moment- although I'll have to have a go. Yes - it would be for the left hand wanting to be throw higher up the keyboard, though I'm having trouble getting myself to do it - it's still theoretical at the moment. Perhaps a pull with the thumb and a more neutral movement with the fifth might work? I'll have to try tomorrow.

Do you definitely mean that way around? I've done a lot of things where the fifth pulls and the thumb extends. I can't quite get my head around the reverse at the moment- although I'll have to have a go. Yes - it would be for the left hand wanting to be throw higher up the keyboard, though I'm having trouble getting myself to do it - it's still theoretical at the moment. Perhaps a pull with the thumb and a more neutral movement with the fifth might work? I'll have to try tomorrow. Ah, just tried it. Very interesting! For some reason, it never occurred to me to turn it this way around. It felt very weird at first, but I think there might well be a use to this. My left is struggling, but my right is just starting to pick it up now. It gives a very different balance of tone compared to a thumb extension coupled with a finger pull. I think there might be a little more risk of collapse compared to the opposite (which usually ends in a very firm arch) although it's certainly possible without that. I'll have to continue experimenting with this. The only thing is that I'm not convinced if it would help with covering any sideways motion- as I think that the opposing directions largely have a kind of cancelling effect. I don't think there's any feasible way to get both sides of the hand to create a reaction that would send you off in a specific direction. However, like with the reverse action, it does help get a sense of bouncing up and away from the piano.

Just been trying an exercise of playing an octave rather slowly with alternating actions. I'm letting the fingers slip along the keys slightly- where the thumb sometimes goes forwards and the 5th back, and sometime the thumb goes backwards and the fifth forwards. It's very interesting to compare the difference. Cheers for suggesting that! I can feel a lot of things loosening up by reversing the direction that I'd usually have been inclined to go in. It's interesting to feel the different sense of alignment the arm takes, when going back and forth.

Cool, I'm glad it's useful. I was experimenting with what you suggested for Op.10 No.1, a piece that I previously thought way beyond my ability level. It's amazing how you can whoosh around the keyboard with a slight pull! I'm finding that using an extension to help with movement is slower than the pulls, but I imagine this is due to the fact that before this week I utilised pulls almost exclusively. I guess with a bit more exploration the extensions will become quicker and more versatile - just a case of having completely neglected a certain movement.

Cool, I'm glad it's useful. I was experimenting with what you suggested for Op.10 No.1, a piece that I previously thought way beyond my ability level. It's amazing how you can whoosh around the keyboard with a slight pull! I'm finding that using an extension to help with movement is slower than the pulls, but I imagine this is due to the fact that before this week I utilised pulls almost exclusively. I guess with a bit more exploration the extensions will become quicker and more versatile - just a case of having completely neglected a certain movement. I have a strong suspicion that the fastest speed possible from the pull goes beyond what is possible when the arm needs to be actively taken across, rather than when it covers the distance mainly by being dragged over. For a time, I'd been skeptical about the idea of allowing the hand to close up (rather than be thrown across while staying open), but I realise now that the right quality of movement on the thumb note opens it right out again. The only problem is if the thumb is too lazy to reopen the hand. Incidentally, if you feel the thumb aims just slightly to the left when moving the key, this can be a big aid with that. That said, what I'm getting from practising extensions too is extremely useful. Even if it may be a little slower in the end, the training it gives the fifth finger (to get right in line with the key and then extend out) is extremely helpful. I think this is a major part of what makes it possible to use the pull effectively- and to do it without simply sagging at the knuckle. I think there are things that are needed for the most effective pull, that the pulling action itself does not necessarily train.