Gavin Black is director of the Princeton Early Keyboard Center in Princeton, New Jersey, teaching harpsichord, organ, and clavichord. Gavin can be reached by e-mail at [email protected].
Five
This month I am writing a little bit about an old antagonist of mine, and of others—namely, the fifth finger—and suggesting a few exercises to address any problems with it. It is almost axiomatic among keyboard players that the fifth finger is “weaker” than the others and that it can be a recurrent source of problems. I felt that way quite strongly in past years, and many students of mine feel that way—at least they do prior to our doing something about it. Over the years I have come to realize gradually how much various concerns about the fifth finger can interfere with the process of learning to be a solid, comfortable keyboard player. It is important to offer students both the techniques for getting fifth fingers to be as agile and useful as possible and ways of thinking about how and when to decide, if ever, that the fifth finger is not right for a particular purpose and should be partially avoided.
I have a clear but fragmentary memory from a long time ago that helps to frame my thinking about this. It was some few years after I had stopped taking formal lessons from Paul Jordan. I was still quite uncertain about many aspects of the direction that I wanted my playing to take, and I was still inclined to be very worried indeed about whether I could develop enough skill and comfort at the organ to be a real performer. I happened to be talking to Paul on the phone, and I said something to him along the lines of “I don’t think that I can become a really good player, because I can’t get my fifth fingers to work well enough.” And he replied, treating the matter with no alarm, as was his way, that the fifth finger was a bit less useful than others, for every player, and that we just all worked on it as best we could and got it to be good enough. (This is a paraphrase, remembered as best I can after thirty-five years or so.) I was skeptical that I could join the ranks of those who had worked well enough on their fifth fingers that they could be “real” players, but I took the idea to heart. That brief conversation is the germ of this column.
This problem does not arise with every student. Almost by definition, more “advanced” players are likely to have less trouble with and less fear about the fifth finger. However, when students are overly afraid of using the fifth finger, it is usually manifested in this way: the student avoids the fifth finger for high notes in the right hand or low notes in the left hand when using the fifth finger would make everything else about the fingering of the passage easier, and usually has an ostensible reason for avoiding that finger each time that doesn’t really amount to anything: “It just seems more natural” or “It feels better that way” or even “I don’t know.”
I hasten to say I am not making fun of these students. This is a completely natural state of affairs for any student until he or she zeros in specifically on the fifth finger situation and figures out what is up with that finger. It is natural not to say “I am avoiding my fifth finger because I haven’t yet figured out how to develop its potential adequately” until you have had it pointed out to you that that is what’s going on.
Fifth finger versus thumb
A comparison between the fifth finger and the thumb is interesting. These are clearly both fingers that are meaningfully different from the other (middle) three. However, the differences between the thumb and the other fingers are much more dramatic. The thumb is, to start with, hinged the “wrong” way. The natural motion of the thumb—flexing at the knuckles as we do with any other finger—is in a direction that won’t play a key on a keyboard instrument. The gesture that we use to play a note with the thumb is different, and in general marked with a bit less agility or subtlety of control. Also the thumb is short enough that using it has—with many sorts of note patterns—a major effect on hand position. The first of these concerns doesn’t apply to the fifth finger at all. Its functioning and orientation are the same as with the three middle fingers. And while it is shorter than the others, it is not enough shorter that in itself changes anything about how it can be used or creates any particular issues.
What creates issues is the slight weakness or lack of agility—a small but meaningful feeling that the fifth finger wants to go its own way, that it is a bit recalcitrant about moving up and down along the axis that we are trying to tell it to cover in playing a key. Also there is a sense that it needs a bit more time to recover and be ready to do something else after it has been used.
(If you ask someone who is not a keyboard player to drum one non-thumb finger up and down on a tabletop as fast as possible—which, as always, doesn’t mean faster than possible, just reasonably fast, but only such that it can be even—and then try another finger and finally try the fifth finger, the chances are that he or she will be able to go faster with 2, 3, and 4 than with 5. Also, most likely, the drumming with the fifth finger will be seen to involve more lifting and lowering of the whole hand than with any of the other fingers.)
Strength and agility
The first step toward helping a student to realize the best potential of the fifth finger is to remember that with organ and harpsichord we are not looking for—and don’t need to be training—strength. On piano the fifth finger, if it is going to be fully useful, sometimes has to create a loud sound. This of course reqauires more force than making a soft sound, and the player must be able to bring the techniques for creating that force to bear on that finger. (The ins and outs of this as a technical matter are outside the bounds of my competence either to do or to teach, since I am not a pianist.) With organ, we need to be interested only in agility, not strength beyond a very basic level.
The practical aspect of this is that any work done to develop the agility of the fifth finger should be done lightly and without tension. This is the same as with any exercises, technical work, practicing, or playing on the organ. But it can be relevant to remind students of this in particular in the case of a finger that is perceived as “weak.” The opposite of “weakness” (if we want to put it that way) is not “strength” but “dexterity” or “agility.”
(Here’s an interesting side note. The clavichord is often a good diagnostic tool for technical matters about the hand and the fingers, since the usual result of any technical problem with the clavichord is that the note that we are trying to play will just not sound at all as a musical note, but rather as a little clicking or spitting sound. It is quite routine for the fifth finger to have a hard time making notes sound resonant and full—avoiding that spitting noise—and sometimes this can be such an intractable problem that avoiding the fifth finger seems to be necessary. This varies a lot from one clavichord to another and from one specific note to another on some clavichords. It can also vary with the musical situation, and—sometimes, but not always—with the skill and experience of the player. But the issue is not force as such, and it is not really agility. It is a sort of minute-level steadiness, since the problem arises from tiny changes in finger pressure on the key in the first very small fraction of a second after a note is played. I myself find it easier to make the fifth finger work well on the clavichord if I play standing up—without raising the instrument higher than it would normally be. I honestly don’t know why.)
Exercises
I suggest a couple of exercises for working on fifth-finger agility. Beyond that, I suggest working on passages of music, thinking systematically about how to use those passages to address the particular issue. Example 1 shows the most basic exercise.
The point here is only partly the actual notes, which constitute a simple or even obvious exercise pattern—simply moving to and away from the fifth finger. The point is more the way in which they are used. It is important to start slowly: slowly enough that it is easy to keep the pattern steady and even, and that it be very light.
The thing to guard against is that the student will try to make it even by playing too firmly—sort of pounding down each note to be sure that it happens at the right time. This is all the more of a possibility because of the fear that the fifth finger won’t function on time or as crisply as the other fingers—and because of the influence of the idea that we are trying to “strengthen” the finger. The purpose of playing it slowly is to make it possible, ideally not even particularly hard, to keep it even without that extra force. By careful listening and paying attention to feel, the student should make sure that the return to the fifth finger is not accomplished by letting the finger (or the side of the hand) just fall onto the keys, but rather by playing the note cleanly in a way that matches the other fingers playing their notes. (In this case the listening is for timing. If the hand is falling onto the key, the note will tend to be early.) It is quite important to speed the exercise up gradually, hoping to get it quite fast, but never getting ahead of a tempo that works.
I have placed this in the right hand, starting at a place on the keyboard where the orientation of the body—arm and hand—to the keyboard should be comfortable. The pattern can be continued down the keyboard indefinitely, and the student can notice how the feel changes as the hand approaches and perhaps crosses the middle C region. The left hand can play an exercise that is the mirror image of this note-wise and identical to it as to fingering (Example 2).
It is interesting for the student to notice whether the fifth finger of one hand starts off more agile than that of the other hand, or whether it seems harder or easier to do this exercise with one hand than with the other. I myself find, after decades of playing, that my left fifth finger seems more like its adjacent fingers in the feel of playing it than my right fifth finger does. Some people feel that this is correlated with handedness, though many report that it is not. (It is not for me: I am right-handed.) For me it may be because of my experience doing a substantial amount of continuo playing, where the left fifth finger is a first among equals in anchoring the harmony and rhythm.
Example 3 is the next step in the sequence of exercises. (The added whole notes are also in the right hand, just to be clear.)
The point is to keep the eighth-note line, with the same fingering as above, feeling the same as it did prior to the addition of the whole-note lower voice. The moment at which each of the whole notes is released is a particular danger point when tension can be added to the hand. It is important for the student to try not to let this happen. Sometimes breathing in the right way at the right time can help, though I tend to believe that the details of this differ from one person to another. I like to release each of those long notes right at the transition between breathing in and breathing out or the opposite: either one seems to focus my mind on keeping the fingers relaxed. Anyone doing this exercise should play around with that. It is also interesting to play around with the articulation between the whole notes. Is it easier to keep the eighth-note line smooth and light if the whole notes overlap a bit, or if they are exactly legato without overlapping, or if they are a little bit detached, or quite detached? It is a good idea to work on getting all of those articulations to feel natural, and that starts with observing the differences in the way that they feel right off the bat.
Another modification of this exercise is the addition of some quick notes, a sort of trill, once the tempo gets fast, as shown in Example 4.
Then the same extra voice in whole notes can be added as in Example 3. Now the quick notes immediately follow the change in the lower note. This is a good test for the absence of tension in that exchange. All of these modifications should also be made to the left-hand version.
The other exercise that can be useful in inviting the fifth finger to become as dexterous as possible is my so-called trill exercise. I have written about it before in these pages and won’t do so again here. You can find it described in detail in the column from February 2010 and also in the column from November 2012 that was part of my organ method. You can also see it at http://gavinblack-baroque.com/trills.pdf. It starts with “choose any two fingers.” If you choose 4 and 5, then it serves to work on fifth-finger agility very efficiently.