The Power of the Wrist in Piano Playing

One of the most common areas that needs developing in beginner pianists (and even - to some extent - in some more well established pianists) is the need to use the full extent of their wrist.

Because pianos make their sounds by depressing keys - which are done so by the fingers - it is naturally assumed that the fingers are where a lot of the control is. It is indeed true to say that the fingers do need to have a certain amount of strength behind them as they can be held more responsible for certain dynamic ranges (the extremities of fff, for example) as well as certain articulations (fingers play their part in getting a nice, quick staccato - though not alone!), but using fingers alone does nothing to develop - or even initially achieve - fluidity in playing. This goes for both a desired result musically and for comfortable playing.

How to Strengthen the Wrist Ready to Play Piano

There are a number of different exercises that we can employ to ensure that the wrist is being given a good workout. Namely, there are three different things that can be brought into play to show just how powerful the wrist is and - if you find that you aren’t naturally incorporating the appropriate technique(s) below into your natural playing then try to make a conscious effort to incorporate them into your practice of any piece of music you play.

Preface - Warming Up

Your wrist needs exercising in the same way your fingers do - even professional pianists do wrist exercises to keep them in check! Before you even sit down at the piano, try the following exercise to warm up the wrist:

Allow your hands to hang freely from your wrist, then shake the hands freely from side to side to loosen then.

Now, rotate your hands in a 360 degree circle. Do this one hand at a time if it’s a bit awkward doing them together. Try to ensure that you get the full circle - sometimes people who are new to this create all sorts of weird and wonderful shapes with their movements! - and keep it relatively slow. You need to get it so that it moves freely and in a flowing way, and that will put you in excellent stead for the rest of the exercises moving forward.

1 - The Doorknob

So called because of its likeness to grabbing a doorknob and rattling it quickly from side to side. If this were the case, you’d do so in such a way that your hand wouldn’t immediately get tired. This is exactly the same philosophy when it comes to performing between the highs and lows of your hand: move your wrist rapidly to increase the likelihood of a good depression of the fingers and decrease the need to be so forceful with your fingers.

A simple exercise we can do is to use fingers 5 and 1 in the left hand or fingers 1 and 5 in the right hand and choose the logical interval that this range spans: the perfect fifth!

It doesn’t matter which notes we start on here, but for simplicity’s sake we shall start on C. Starting with the left hand, place finger 5 on C (one octave below middle C) and finger 1 (your thumb) on the G above. The remaining fingers should naturally hover over each respective note between (D - E - F).

Before I explain what you should be doing, try playing an alternating pattern of the two notes at regular intervals: C - G - C - G - C - G etc. - you are just working from bottom to top to bottom to top.

How do you notice that you are playing the notes? Are you playing from your fingers?

To answer this, answer the following questions:

1. Is your hand remaining completely flat at all times?

2. Are your fingers doing all of the work?

If you answered yes to both of these, you are playing from the fingers, and this is precisely what we wish to eliminate. If you do this for too long - even at a slow tempo - you will eventually cause fatigue in your hand.

Let’s try and increase that wrist action.

Firstly, press down finger 5 but rotate the wrist somewhat left so that the remaining fingers all lift up a little. Don’t worry if it seems a little exaggerated at first - we’re just getting used to the movement before we fine tune it.

Secondly, press down finger 1 and very gently and very smoothly rotate the hand position so it now mirrors what it just did - i.e. the wrist is rotated somewhat right to compliment the thumb and the remaining fingers are somewhat lifted up.

Now repeat these two steps over and over, but maintain a regular rhythm. Use a metronome if you need to, but don’t be ashamed of keeping it slow.

By using the wrist, you are massively absorbing the ‘shocks’ that naturally occur when you press keys on the keyboard. This means that you will be able to keep going with this technique for a lot longer than if you just use your fingers, not to mention that it will be much more comfortable to do in the first place - if only for a couple of bars!

Repeat this with the right hand.

2 - Go With The Flow

The movements that you are going to be incorporating into your wrist are exactly the same here, but now we need to develop our musical understanding and instinct to best apply the correct movement.

Although it may not be something that comes naturally at first, it is an extremely easy principle to remember: the wrist moves in the direction of the music.

Perhaps the easiest way to demonstrate is with a scale.

Let’s take a simple C major pentascale (C - D - E - F - G - F - E - D - C).

Play this with either hand as you feel comfortable and ask yourself - knowing what you now know - if you are playing with your fingers or your wrist.

If you feel that your hand is flat at all times and each individual finger is taking all the load, maybe it’s time to perform this scale in a slightly different way.

For continuity, let’s demonstrate with the left hand again:

Place finger 5 over C and lay each finger on the next note ascending (2 = D, 3 = E etc.)

Play C using finger 5 and - similarly to above - rotate the wrist ever so slightly to the left to allow it to play the note with greater ease whilst slightly elevating the rest of the fingers.

Now play each note in succession BUT - each time you do so, work slightly more towards the mirror image that we worked to above (finger 1 playing G with the wrist rotated more to the right and the remaining fingers slightly off the keys).

A rather crude way to try and think of how to work through this progression is to consider that when you press the note E with finger 3, your hand should be virtually flat as this is the midway point.

When you reach G at the top, work back down with the same principles.

Make sure that when you practice these, you also do practice to a regular beat such as a metronome. Start as slowly as you need to and don’t hesitate to build up the pace when you feel ready to.

The pentascale is but an easy demonstration for you, but the principle of this will apply to most any piece of music. If you are playing a melody or bassline that has clear ascent or descent then this is a golden opportunity to utilise this technique. If you find that you have some big jumps in pieces of music as well - even over an octave! - then you can partly use wrist action to ensure you hit notes more accurately. Try jumping between notes that are far apart with flat fingers and then try and gracefully glide between the same notes and see how much easier and more accurate it is!

3 - The Bouncing Method

The one other common method is what I term the bouncing method and this is used when playing multiples of the same note (or especially chord) - vamping, in essence.

To do this, you have to imagine that your hand is on a string and is effectively behaving like a yo-yo!

However, in order to get this as graceful as possible, you crucially need to remember how to play notes and chords:

The second that your fingers have touched the notes / chord in question, you’ve done your job. Don’t tense up, don’t be tempted to hold them there. As soon as they are down, lift them off with a nice, easy flow.

Let’s demonstrate with a C major chord:

Play C major in the right hand (middle C - E - G).

Now play the chord a few times to a regular rhythm.

It can be difficult to observe this whilst you play it, so feel free to record your hand and try and take note of what it does.

We want to have a grace in our hands that allow us to see the movement between it being on the notes playing the chord and above them waiting to play the chords, however what many people find is that their hand appears to look like a switch! - that is to say, it’s on, it’s off, it’s on, it’s off - nothing seems to happen between - just all of a sudden it’s playing the keys or off them again!

Take your hand away from the keys if this is the case and gently allow your hand to rise and fall from the wrist as if you were playing with a very small yo-yo (or, indeed, making a tiny marionette do a small, graceful dance!). This is exactly the same technique, so once you feel you have this, try and incorporate it more into your piano playing.

For a video recap, see my YouTube video below. In fact, subscribe to my YouTube Channel to be kept updated with all things piano there too!

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Jack Mitchell Smith is a piano teacher based in Macclesfield, Cheshire. Click here to find out more.

Weekly blogs are posted that may help you with your musical or piano journey. Click here to sign up to the mailing list so you never miss a post!

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#pianolesson #pianist #pianoteacher #learnpiano #pianotechnique #pianopupil

'Beauty and the Beast' - a CYGNETS Production

You might recall back in Easter that I MD'd a short course of 'Annie' with one of Macclesfield's youth theatre societies - CYGNETS.

The week that that production went ahead was to have been the week of their full production that we were all working towards, however - it had to be pushed back a few months.

And - as of Sunday just gone - it's all over.

CYGNETS performed 'Beauty and the Beast' at the Kings School in Macclesfield across three performances from Friday 12th - Sunday 14th July.

Despite the short course earlier this year, this was actually my first production with CYGNETS and, in fact, my first ever youth production. However, on the understanding that the cast had shown enormous potential in previous shows, it was opted that their production of 'Beauty and the Beast' would not be the youth cut and would, in fact, be the full show!

I have to say they carried it and pulled it off remarkably well. All principal roles were exceptional and the chorus / ensemble were extremely tight. This goes for everything - singing, dancing and general acting. And what I particularly love about kids is just how fearless they are! Nothing but excitement throughout the whole process - even with minutes to go until showtime!

It is also worth reiterating that CYGNETS is a non-profit group that relies so heavily on the work put in by volunteers who are mainly made up of parents of the cast! This means that stage crew, set design and props and - arguably most impressively in this production - wardrobe, were all carried by them!

Musical Directing

Having worked with backing tracks (of a fashion) for only one show prior ('Footloose' - CMT 2022), I was reluctant to do so again. Previously I had used Sinfonia which gave absolute control of the tracks regarding tempo, cues etc., but for 'Beauty and the Beast' we used MTI (Music Theatre International) which is infinitely a higher standard of sound but has very little control.

We got a hold of the rehearsal tracks very early on in the process so we did get used to them, but because 'Beauty and the Beast' is a show with lots of rises and falls in the music (i.e. demands a lot of conducting) it required a lot of conscious effort to get used to and remember how the tracks played out.

It was, however, fine! And the tracks did sound excellent nonetheless.

Parade - 29th June 2024

As part of Macclesfield's 1261 weekend festival, a parade set course down the streets of Macclesfield town centre. And guess who had a float?

CYGNETS!

The cast absolute relished in handing out flyers to unsuspecting passers by, and I was parading with them. Although, I dare say, photographic evidence probably doesn't look too good as I often appeared less than impressed at the obligatory outfit I had to wear (disclaimer: not actually obligatory and not really an outfit - just beast ear headband). Fortuitously, the photo that came from Cheshire Live / Macclesfield Express and was shared came after the parade, so...no harm done!:

Cheshire Live / Macclesfield Express Photo

Wrapping Up CYGNETS "Beauty and the Beast"

I don't know if I'll ever work with any of these young people again, but they truly were a delight. As already obsered, the principal roles were excellent and they all thrived in putting on the best performance they possibly could. If they so choose, I have no doubt that any of them will excel in whichever area of performing arts they choose, whether that be all round theatre or they decide to focus on dancing or singing.

Including myself, the production team for this show was identical to 'Annie', so I will once again thank Hannah Davies for the amazing choreography and congratulate Kalini Kent for organising the show and putting it all together.

Taken directly from the website, CYGNETS "are a vibrant not-for-profit group developing skills in the performing arts, providing performance opportunities, as well as building confidence, self-esteem, self-belief and improved communication skills in our young people and adults."

If you know of anybody who would like to take part then click here to visit the website and learn more, or click here to be directed straight to the contact form.

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#musical #musicaltheatre #musicaldirector #macclesfield #amateurdramatics #youthproduction

One Year of Teaching Piano - A Retrospect

It's been just over a year since I started teaching piano. I can't believe how quickly the time has gone, but I suppose more so I can't believe how far I've come as not only a teacher, but as a pianist and musician myself.

When most people begin to learn piano, those with any ambition about progressing to a career in music tend to look at those high profile, name in lights type of jobs: professional concert pianist, session musician, events pianist, composer, musical director or supervisor etc. - I think it would be safe to say that most people who begin learning piano don't have the thought: 'I reeeeeeally want to teach this one day'.

This was the case with me, however - over the past four years it has become clear that it was perhaps the most logical extension to what I did want from piano. The name in lights dream has never been something I've yearned for. If I play piano I tend to be happy to do so for my own entertainment. However, music was too much of a passion to not progress towards being a career hence why the first push was to try and develop a creative, behind-the-scenes service such as composition. My theory: I write the music, somebody else brings it to life every night! My job is done and I reap the reward in hearing the final thing without all the stress of rehearsal, conducting and - for piano based compositions - performing them myself!

Needless to say, the average demand for bespoke composition is...limited! Certainly if I offered something along the lines of more traditional art - sketches, paintings etc. - it would be wonderful as people love to commission these as keepsakes, gifts and more. However, the idea of a bespoke piece of music or song seldom crosses people's minds. Those who are musically passionate would probably do it themselves anyway, and if not then it wouldn't really be something that they consider.

So the next logical step for me has led to a successful first year of piano teaching and gives me one year's worth of experience to advise those who are considering this career move or have just begun. Read on to learn more and be inspired in taking the steps yourself...

Preparation For Piano / Instrumental Teaching

Seek Out Advice On Teaching

Are you still in touch with your old piano teacher?

I was (am).

In fact, it was her who planted the seed about a year or so prior at a recital of some of her pupils - she asked me if I was considering teaching myself. This was a resounding 'no' at the time because I didn't know how to start!

Back then I thought that I'd only like to get pupils who had some experience playing.

But then I started to consider that they might be too advanced for me to teach! Panic!

So I thought maybe I'd start with beginners - but how?

It was immaterial thinking anyway...until I decided I did want to teach.

Then these questions emerged...

• how do you teach a beginner?

• how do you teach a child?

• which books are best?

• are books even the way to go?

and many, many more.

So I went round to her house, she made me a cup of tea (teacher's prerogative - ask one of my pupils the last time I made them a cup of tea!) and we had a good long chat where she talked me through everything she could according to the leading questions I asked (see above)*.

Ultimately we reached an interesting conclusion - put my name out there, see who - if anyone - bites, and go for it!

*NB teachers are usually delighted to help other teachers and prospective teachers, but don't forget that you are still taking their time and expertise. It wouldn't be unreasonable to be asked to book a lesson / discuss as part of a paid lesson, and also be respectful that if you are fairly local to each other you may be encroaching on their potential business. All sole traders are aware of competition, but a teacher absolutely has the right to say no to advising you purely on this principle! Consider your relationship before asking, and - if you are respectfully declined - do not push the matter.

Start Out Small

You'll likely not get enough of an influx to overbook anyway, but aim for a maximum number of lessons per week. For me, this was 16 half hours across two days (effectively four hours a day).

You will benefit far more from familiarising yourself with texts, workbooks and scores in your 'free time' at the beginning than working through it for the first time with your pupil and being equally as surprised!

Never Stop Learning

This isn't just in accordance with teaching. This is piano full stop.

I don't think anybody has ever reached a point in their piano learning and thought...'I'm good enough now!'.

So why should you?

Because you don't have time? Too many lessons you're teaching?

Teaching is an absolute joy, yes, but so is music itself. In fact, that was the fundamental joy that got you into this position of teaching it in the first place and so you have two responsibilities:

• always keep enjoying music yourself

• always strive to be better than your pupils

The last one sounds partly obvious and partly petty. But actually, it is so important for our Imposter Syndromes that we do feel we have a better than average grasp of the instrument.

You'll likely not get anybody super advanced coming to you straight away, so it's unlikely you'll be at their level, but it's equally important to know - at all times - when to say no to a pupil as well as when to tell a pupil that it's time for them to progress to somebody more able to teach them than yourself. This speaks nothing of you and your own abilities as either teacher or pianist, and your honesty will be met with much respect.

Advice on Running a Business and Teaching

It can be super hard to know where to begin when it comes to running your business and progressing lessons, so here are some pointers than will help you!

Be Definite!

If there's one thing that I have learnt, it is that humans don't like choice. We like yes and no options.

Before I decided which days I would offer as my regular teaching days (Tuesdays and Fridays), I left it as a free for all. Yes, we got somewhere eventually, but conversations would often go along the lines of:

"When would you like to come?"

"When have you got?"

"Any time to suit you"

"I can come any time"

"I could do Tuesday. Would you prefer morning or afternoon?"

"I don't mind - I'm retired"

"How about morning at 10:30?"

"That's great, thank you"

Mix in to that that most of my first contact with a pupil is via e-mail, so this is a lot of to-ing and fro-ing.

Compare this:

"Would you be free on Tuesday at 10:30 am"

"That'd be great thank you. See you then".

OR

"Would you be free on Tuesday at 10:30 am. I can also offer afternoon if your prefer to come later"

"Afternoon would be better - have you get 3:00 or around then?"

"Yes, no problem. I'll book it for 3:00 on Tuesday"

So. Much. Quicker.

And it's a completely reasonable assumption to think that if they're asking about piano lessons, they already want one!

I used to answer their question(s) and then say "please let me know if you'd like to go ahead and book". These types of responses from my end were either met with tumbleweed OR a response to say no thank you.

Strike while the iron's hot!

"Yes I do offer piano lessons. They're priced at this much and I'd be delighted to help. I do actually have a spare slot on Tuesday at 10:30 if you'd like to come down for that? This could become a regular slot if you decide to continue"

100% of pupils who I've offered a lesson to straight away have come for it!

You Know So Much!

This is partly to satisfy your Imposter Syndrome as it creeps back in over the weeks - you will realise as you talk and as you listen to your pupils perform how good you are!

But be warned!

You don't want to blind them with science, as it were.

Music has more exceptions to the rule than rules, it would appear, and it is so important that you help your pupils to understand the rules of music first.

My initial theory was that if I didn't tackle it upfront, it would confuse them at a later date.

Wrong.

It confuses them right now! I can assure you that if you bring up exceptions to the rule, you will spend longer trying to explain the exception than the rule itself, meaning the whole thing is futile! Focus on what needs to be taught and only when they are:

• confident on the rule and

• actually needing to know the exception

...is it time to cross that bridge.

Log Student's Progress

This will be a shock for my pupils who I know are continually impressed by my outstanding memory of everything I've done with them previously.

I have a spreadsheet on my iPad with every single lesson logged, what we plan to cover in the lesson, what we did cover, notes about how they are doing (what needs improvement), homework set and when their next lesson is.

Your memory will serve you better with these little prompts. I also schedule my pupil's times so that there is 10 minutes between lessons. This is partly for my benefit in case I need a quick pause or bathroom break, but really it's so I can log these things when it's super fresh in my mind!

Children Learn VERY Differently

I naively thought that a child would learn the same way as an adult, but just through a different tone of voice.

That couldn't be farther from the truth!

Children learn in the most fabulously interactive ways to the point that - as a piano teacher - you will start to feel a guilt complex as to what you are even achieving. To some point you may have to spend a good chunk of time bringing them out of themselves anyway - particularly if they are very shy - but to assist with their shorter attention span we have to get creative in how we teach them:

• Games

• Drawing

A parent would be forgiven for thinking that the teacher has, indeed, lost the plot here, but the simple truth is that children's minds need constant stimulation in order to be successful in learning something.

Casual Learning Doesn't Exist

Perhaps a controversial take, but I have a fair few casual learners. To define, they wish to learn for their own personal gain, free from the pressures of exams and public performances.

It sounds delightful, but the brutal truth that I already knew about the piano that became even clearer with some of my casual learners is that learning piano is hard work regardless.

Learning casually is absolutely fine by the definition given above, but I am very clear with everybody upfront now who wishes to learn in such a way that this does not and should not exempt them from a practice / homework / revision schedule.

The expectancy of many pupils is that the lessons alone will carry them - if they come regularly, such as once a week, then that's the bulk of it and they can enjoy the rest of the time.

Unfortunately that isn't how it works!

Setting even small goals can be a fantastic way of bringing each individual pupil to their fullest potential regardless of what their ambition might have been at the beginning of their piano adventure.

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Jack Mitchell Smith is a piano teacher based in Macclesfield, Cheshire. Click here to find out more.

Weekly blogs are posted that may help you with your musical or piano journey. Click here to sign up to the mailing list so you never miss a post!

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#pianoteacher #pianist #macclesfield #cheshire #congleton