Unison Fingering - Signs and Terms
It seems important to discuss fingering as early as possible. Those who are untrained on the piano will play with any finger they wish, and usually prefer certain strong fingers over others. The piano has correct fingers with which it is played, just as all instruments do. However, the piano has many different fingerings as compared to other instruments, such as a clarinet or saxophone where the hand stays stationary over the same keys. On the piano keyboard of 88 keys, the fingers do not stay the same; and any key can be played with any finger.
Right from the start, it is important to learn that the keyboard is navigated by many and various fingering and arm movements that are learned at lessons. At this early stage in the Conservatory Course, students are already learning to change fingering when the hand moves. However, fingering can be misused. Many teachers and methods will write fingering in the music as a crutch to help students read the notes when the hand is over the same keys, and fingering is not needed to navigate. Never be tempted to misuse fingering in this way as a convenience for reading. The fingering is necessary for navigating. If written by notes that are stationary it becomes a substitute notation for reading notes. - The process for learning to read is not by fingering. To teach reading do these things: Start with a melodic line, not chords. Point slowly note-by-note to avoid mistakes. Look up at the notes to visually memorize them, never down at the keys. Next, play gradually faster for comprehension. This is the only way to teach reading.
In a piece there should be as little change to fingering as possible but, when it marked in the music for navigating, it should be carefully and deliberately followed. Fingering for navigation is marked in the music for these reasons:
- On the first note.
- To move the whole hand stepwise or in leaps.
- To show when to cross, extend, contract, substitute, or exchange fingering.
In the Conservatory Course, unnecessary fingering is not marked in the music, but fingering is marked in diagrams to help explain new patterns. In this course, students begin using unison fingering. Fingering patterns of five-fingers played hands together in unison are important for developing fast fingering and dexterity. They are played stationary on the keys and cannot be overemphasized for the purpose of exercising. Be very careful not to make and fix mistakes in fingering. Once a key is played it remains strong in the finger memory and difficult to erase.
. . . . .Every student is a good student. Every lesson is a good lesson.
Lesson 1 - Black Key Stretch
TWO AND THREE BLACK KEYS
Previous we introduced students to finding two and three black keys from all directions, lowest to highest, highest to lowest, middle to lowest, and middle to highest. We have learned how to name the white keys by using the black keys as a guide. For example, C is to the left of the two black keys, D is between the two black keys, and E is to the right of the two black keys. Now we are going to notice the black keys individually. In the diagram, count the two and three black keys and place the fingering over each one. While stretching, be sure to rest the fingers over the keys before playing. Keeping the fingers touching the keys will help establish the sense of touch which is so vital in piano playing.
What can go wrong teaching black keys...
The black keys are necessary for becoming aware of the layout of the keyboard and as a means of naming the white keys. Now stop! It is logical to teach black keys, but it is illogical to over emphasize them with several pages of playing only on black keys or an entire book of them as some do. Don't waste the precious lesson-time on these silly things. When it comes to black keys, look at them, then return right away to the white keys as a starting point for learning to read and for developing finger strength and dexterity. Honestly! Don't use black keys as a game or diversion delaying steady progress.
M5 - BLACK KEY STRETCH
Play on the black keys for the purpose of stretching the muscles and separating the fingers. Place the LH first, then the RH. Start at the bottom and play up and back, one finger at a time. Grip fingers 1 and 5 at the edge of the keys. Fingers 2, 3, and 4 may lay flat for small hands. Larger hands should grip the middle fingers and play legato. Keep open position and slide up one black key at a time to repeat the pattern. It is natural that students will experience muscles that hurt until they become more flexible and can stretch comfortably.
What can go wrong stretching on the black keys...
There is no reason to think that stretching the hand in this way will cause it any harm. Just as in learning the splits in gymnastics, at first using the muscles in a new and different way may be uncomfortable. Don't be afraid of damaging the hand, and don't stop if the hand hurts. This discomfort is the only means in which to stretch the muscles to reach further than they do naturally. To help keep the fingers over the keys and not sliding, pretend they are glued down.
Lesson 2 - Two Melodies in Unison
UNISON FINGERING
Unison fingering consists of five-finger patterns played on the same keys an octave apart. This fingering is basic to piano playing, and its importance should need no explanation. Five-finger exercises are almost always in unison. Many books in five-finger patterns were written by well-known teachers such as Hanon, Schmitt, and Philipp. Also, many famous composers have written etudes in five-finger patterns. Students should, as soon as possible, learn to play five-fingers in unison. Finger dexterity, independence, speed, and strength are learned by five-fingers in unison.
What can go wrong teaching unison...
It's takes deliberate and careful guidance to teach unison. Be sure to use the step-by-step directions looking at the diagram, not at the hands. Say, "bottom" and wait for students to figure out which key is on the bottom of both hands. Touch the fingers to help, but don't go on until the bottom is sure. Hold the keys down while thinking.
Hold the"middle", and then hold the "top". It is extremely important to feel the relationship of bottom-middle-top first before naming the keys. Next, name the keys and say the same keys by letter name, C E G. Lastly, add the missing fingers of 2 and 4. Saying D or F is too much information for now. Say, "Next, next."
M6 - PLAYING TWO MELODIES IN UNISON, "DOWN BY THE STATION"
Always play unison hands together but don't read hands together. Look at the notes in the RH and let the LH follow along, not reading. This is pretty easy if the unison exercise has been done easily and well. Coach the movement of the notes on the staff such as, repeating, up or down.
What can go wrong playing unison...
In unison, don't coach by letter names. This will surely confuse the student since the fingering is different in both hands. Instead, coach the movement of the notes. The movement of the notes in both hands is the same direction up, down, or repeating, so it is not confusing. Whether in unison or not, never coach every note or fingering by letter name or fingering, and in unison absolutely never play the RH first and then the LH. In unison all the attention should be put on the RH, and the LH should take care of itself and follow along. If the LH is practiced separately, students will not as easily learn how to do this important skill. Hands are usually practiced separately when one hand has the melody and the other the accompaniment, but unison is two melodies that are the same and both must be practiced together to avoid wasting time.
Lesson 3 - Tap the Black Keys
ACCIDENTALS
Sharps and flats are made easy in this example by explaining them on the keys and not the staff. To make it simple, from D natural show a D flat on the black key to the left, and a D sharp on the black key to the right. This is the easiest way to discover sharps and flats. If students ask questions, you have said too much.
What can go wrong teaching accidentals...
Teach sharps and flats in such a way to prevent questions. Questions are a sign of confusion. Be basic without adding too much information that causes confusion. These are the ways too much information is often given regarding sharps and flats: The explanation is made harder by showing how a black key could be either flat or sharp. It is made harder by explaining flats and sharps are a half step higher or lower. It is made harder by introducing sharps and flats against the note on the staff rather than on the keys. It is made harder by explaining sharps and flats as they are used in key signatures or in scales.
M7 - TAP THE BLACK KEYS, "IN THE HALL OF THE MOUNTAIN KING."
This passage and piece is always a favorite. Students should rest R2 on D sharp and L2 on B natural. Be sure to pull before starting so R2 is standing on its tip on the black key. Look up, never down so the importance sense of touch is not lost. Lift the whole arm low and tap in a steady beat.
What can go wrong playing mindlessly...
Anyone can teach children to name notes and characters used in music. However, the first teacher has something far more important to do. The teacher must lay the groundwork for all future technique. Never allow students to play spontaneously without control. Instead, enforce concentration on every note that is played. In this passage make sure the hand is held strong over the keys, and lift the arm to tap clearly. Pull the finger joints so they don't collapse. Keep the eyes looking at the music and not the keys. Tap in a steady beat. Whether good or bad, habits become locked into the finger memory and students left on their own to play as they wish will resist correction. Use the lesson-time to help students form good habits right from the start.
Lesson 4 - Fingering Unison and Exchange
ITALIAN TERMS
Most musical terms are in the Italian language. For example, the Italian word for soft is piano. The Italian word for loud is forte. Older students may like to know that the original name given to the piano when it was invented is piano-forte, meaning soft-loud. In Italian, the suffix "issimo" can be added unto just about any adjective. It means "extreme" or "very". For example pianississimo means extremely soft or very, very soft. Any number of issimos can be added to an Italian adjective, but pianississimo is as soft as possible on the piano and all that is needed! Pronounce these interesting words for students. - More Italian terms are those for tempo or speed. They are written at the top left of a piece to describe the general speed at which to play it. Pronounce these words for students.
What can go wrong teaching dynamics...
Beginning students should regularly play at a mezzo forte level that is not too soft and not too loud. Terms for dynamic changes in the music should be explained, but they should not be observed until students have more experience, or used sparingly to prepare a piece for performance. Dynamic signs are an interesting diversion and easily recognized. However, if they are observed too early or without the proper control of the fingers and arms, students will make an unnatural effort from the body to play softer or louder; which may form bad habits. For now, concentrate on reading notes, which is a long and complicated process that needs all our attention. As far as dynamics, learn how to control heavy and light touch by tapping the whole arm on single notes, and lifting the fingers higher from the knuckle to accent.
M8 - FINGERING FOR UNISON AND EXCHANGE, "UNISON AND EXCHANGE"
For coaching unison, use the terms bottom to top in this order, "Bottom, next, middle, next, and top." Repeat in a continuous legato. Pull and lift each finger from the knuckle. To exchange fingering on C use these same terms so students can associate their fingering changes in the same way, "Bottom, next, middle, next, and top." Or, "Next, next, next, next." Or, it does no harm to say the fingering on E is, "3 and 3."
What can go wrong teaching to exchange fingering...
Exchanging finger is used all the time in piano playing and students will need to learn how to exchange unconsciously. However, nothing can go into the fingers except through the brain, and a real conscious effort must be made to learn how to exchange fingers. Stop and concentrate on each repeating C. Hold each one down for as long as it takes to be ready mentally to exchange. When you sense the student is ready, say, "Exchange." Don't use fingering to coach exchanging since this adds another layer of thought that will cause confusion. For more help say the same coaching as was done in the five-finger pattern, "Bottom, next, middle, next, and top."