Keyboard Finger Keys

[Latanya Hariri]

Yourleft-hand fingers should be placed over the A, S, D, and F keys, and the right-hand fingers should be placed over the J, K, L, and ; keys. These keys are considered the home row keys. Your thumbs should either be in the air or lightly touching the spacebar key.

Although the advantages of the 10 finger-method are perfectly obvious, still many people are hunting and pecking away. Here you are staring at your keyboard until you spot the right key and then hit it with your index finger.

The basic concept of fast typing is quickly explained: Your fingers take up a fixed starting position, from where you can reach any key you need. Your left fingers are placed on the keys A, S, D and F. Your right fingers are on the keys J, K, L and semicolon. Your thumbs are on the space bar.

You can find the basic position without looking at your keyboard. The keys F and J, where your index fingers are placed, have a little bump. This is how you can feel where to put your index fingers, the rest of your fingers are placed accordingly then.

If you have adapted your own writing system and have been using it for a long time, you will probably be slower than before after switching to the 10 finger-method. Do not be discouraged. After a short time you will notice a significant progress and write faster and more comfortably than with your old system.

Many users ask themselves whether they really have to use all 10 fingers or whether 6 or just 4 fingers are enough? The use of all fingers is of course the optimal condition and who really masters typing with 10 fingers, types faster and more relaxed.

However, if you find it very difficult to retrain your self-taught typing technique or if you have anatomical difficulties using all fingers, you can of course use fewer fingers or type keys with other fingers than we recommend.

The key to efficient operation of the computer keyboard is that you know the positions of the keys and the necessary movements of your fingers and that you can utilize them without lengthy thought or looking at the keyboard. The technique we recommend only offers you a method that has proven itself. However, you can of course - if you think it is necessary - adapt it to your needs.

Nowadays, 2/3 of all professional activities require work on the computer. And also privately we spend more and more time in the digital world. The time we spend every day entering texts on the computer may vary according to our profession and private usage patterns and may not seem so much to us - but the long-term approach is decisive here.

Let's assume you spend an average of 1 hour a day entering texts. Projected to one year, that is already 365 hours. If you double your typing speed, you will save about 180 hours per year. For a working week of 40 hours, this means 4 1/2 weeks of free time per year, which you can use for other tasks or which at least allows you to go to work on time much more often.

Of course, this is only an example calculation. Depending on how fit you are on the keyboard at the moment, even a 3- to 4-fold increase in typing speed is possible - with correspondingly higher time savings.

I've noticed, that many people are hitting keys, instead of just pressing them. It kinda looks like that before they press the note, they lift the finger a little bit, same as if you tried to hit a nail with a hammer.

This looks a little bit like the exact opposite of typing on a keyboard, where I'm trying to just move around the keys and press them, without hitting too hard, which makes me type pretty fast (450-600 characters per minute). But I guess piano might require a different technique.

The important thing is consistency. If you are playing the same style and volume, you should hit the keys the same way. When you move a finger from one key to another, you have to lift it a little. So when you play the same key twice, you should lift it a similar amount.

If you want to play loud, accented notes, it may help to lift your fingers a little farther. In a slow, smooth piece you may be able to rest your fingers on the keys and press the keys a little slowly.

I think the most important thing to practice is precision -- hitting the key exactly at the right time and with consistent force. Bending your fingers helps. After you are precise, experiment with the different styles of hammering the keys.

On most instruments, including the piano, economy of movement is important. What is the least movement you can use, to get the sound you desire? Because using the least movement possible, is the least fatiguing, and by not wasting movement, you have the opportunity to play faster figures when you want to.

On a piano, the only variable (ignoring pedals) that affects the sound coming from the strings, is the velocity of the hammer when it strikes the string. The only influence you have on this, is the velocity of the key at a certain moment in its travel.

However a piano is a percussion instrument, which means it's all about getting hit. And to get certain sounds, you need to hit it hard! And to hit it hard you may need to lift your hand some distance to give it some attack. It all depends on whether you want to sound like Little Richard or Richard Clayderman! (Or, less dramatically, whether you're playing the strident first movement, or the lyrical Adagio, from Grieg's piano concerto).

I still remember one of my professors telling me once, when we were looking for a particularly sharp sound on a note in a piece (I think it was somewhere in Copland's "Variations for Piano"), holding his thumb and third finger together and banging down on the key from about eight inches. "That's your 'weapon'!" he grinned.

You would be well served by looking carefully at some of the videos of great pianists. You'll notice that there's a good deal of variety in their approach to finger technique, indeed, whole schools of study are built around different approaches to it. The Russians tend to like to hold the fingers up some from the keys and sort of plop the down flat-fingered (look at Shura Cherkassky for a representative example); Americans (who haven't studied with Russians, perhaps) tend to have a more curved hand position. You'll notice that Horowitz appears to do this, but careful inspection will show that while he often holds his fingers out flat, he pulls them in when hitting notes in a sort of plucking motion. You also might notice that his very rapid finger passage work is rather non legato; the notes get his trademark clarity by slightly disconnecting them one from the next. I think that plucking motion rather assists in getting that sound. You'll also notice that he is very still from the shoulders down, getting a lot of his volume from very rapid and percussive arm movements.

If you compare Rubinstein, you'll notice that there's a lot more moving around of the arms, but the arm technique is less percussive than Horowitz's. He gets a softer sound with bigger movements. You'll also notice that his finger passage work has less up-and-down movement of the fingers; the fingers start closer to the keys. Look especially at, say, a quick run of notes in a Chopin piece.

A lot of how far you raise your fingers when hitting a note has to do with the level of volume that you want. You can get a lot of volume without raising the fingers at all, by putting body weight into it, it is true, but you can't play very fast that way. And, you can also do it by raising the fingers higher and still get a great deal of speed.

Of course, it may not be possible to make contact with the keys without also striking them depending on the speed of the piece and so on. However, if you feel the keys bounce off your fingers, that's a problem. The keys should never accelerate faster than your fingers, except perhaps when playing staccato.

After you've built your strength sufficiently, you should be able to produce fortissimo quite easily without "hitting" the keys. If you need to use the weight or inertia of your arms/hands then something isn't right. I totally agree with slim about the economy of movement as well, and playing some pieces requires extremely efficient motions that leave no room for lifting your hands more than necessary.

The attack is just as important as the release. Depending on the type of sound you want to come out, you need to have a correct attack, which may involve distance above the keys. For example, to play very quietly, height above a key is useful, since you can put your hand into a slow motion before the keys is pressed, and then retain that same motion after contact with the key.

The release is connected to the attack. Consider the difference between pressing a key and releasing it (something like using the accelerator pedal of a car), and pushing off of a key as the release (something like doing a standing long jump). The latter can provide awesome intensity in your music, much more than the former. Pushing off leaves your hands in the air, with great position to attack the next notes.

Some have called this type of movement emotional or theatrical. Sure. But it's real purpose is to put life into your instrument. To make the piano sing, you must let it become a part of your performance. How can you do this by keeping your hands solidly on the keys? You cannot. The reason professional pianists do this is not for theatrical value, it is to make you involved enough in your music so that others can understand it. Take, for example, Yakov Kasman, who won 2nd place in the Van Cliburn competition. In this video he lifts his hands all the time. I saw him in concert stand up multiple times while he was playing because that is what the emotion called for.

One critical note about "fingery" technic: try to avoid lifting the fingers by using the muscles in the top of the forearm -- i.e. the extensors. The extensors are engaged to lift the fingers, whereas the flexors (underside of the forearm) are engaged to play the fingers. Lifting a finger via the extensors creates a situation where, for a brief moment the extensors are engaged to lift the finger while at the same time the flexors are engaged to play (pull down) the finger. In each of these moments, the opposing pairs of muscles are "fighting" each other, which creates tension, stress on tendons and joints, and may result in pain and injury if continued over time. Learning to play with a "close touch" (using flexors only) minimizes the lifting of the fingers, thereby minimizing tension and risk of injury.

3a8082e126