Recently I’ve been working with several students, aiming to develop strong, active thumbs. This may sound rather strange, but we tend to take the thumb for granted. They protrude at the side of each hand and we just expect them to support the fingers. I’ve written several times, here on this blog and in various articles, about the importance of a strong finger technique, but so far I’ve written little about the poor old thumb.
Thumb movement can make a colossal difference to many aspects of piano technique, as essentially they ‘control’ almost half of our hands, due to their dominant, and slightly lower, position (compared to the fingers). Alberti bass accompaniments, octave playing, pristine rapid passagework, are just a few of the typical piano elements demanding a clean, well-formed thumb. In my teaching, I’m very aware of a student’s movement during piano playing. Demonstrating to pupils ‘how’ and ‘where’ to move is an issue which must be constantly addressed. Without correct, helpful movement, technique really can’t be developed. This is certainly the case with our thumbs, and they require a different approach to the fingers.
Whereas fingers are encouraged to play with all joints active, that is, not collapsing, and on the tips (or finger pads), ensuring strength and contact with the key, the thumb will, by necessity, play on its side. However, like fingers, they are best utilized with the joints fully engaged for optimum movement. If we allow our thumbs to just ‘hang’ or lag behind our fingers, or even worse, ignore them altogether, they will be unable to articulate with clarity and precision.
Here are a few ideas for clean thumb playing:
To be aware of thumb movement, start by moving the thumb; you can do this exercise away from the keyboard. Sway your thumb back and forth under the hand, gradually building flexibility. It can also help to move the thumb in a circular motion over the hand too, but aim to do this carefully and free of any tension.
Now experiment at the piano with four white notes; C, D, E and F using the right hand. Try this fingering 1, 2, 3, 1. The first and last note will be played by the thumb. When you play the third finger on the E, lift your wrist slightly allowing the thumb to go under the hand to play the final note, but don’t let go of the E. You’ll notice this position, that is playing the E and F together, will contort your hand slightly. Make sure your hand muscles and tendons, especially around the thumb joint, are pliable and flexible, so this position feels comfortable; it will require a ‘letting go’ or release of the tendons and muscles within the thumb joint in order to feel relaxed. This is best done whilst keeping both notes depressed, and it feels easier if you ‘drop’ you hand and wrist (as opposed to keeping them in a stiff position), releasing tension. Now do this with the left hand, perhaps using C, B, A and G.
You can also experiment with arpeggios. Using the right hand, play a C major arpeggio; middle C with the thumb (1), E with your second finger (2), G with your third finger (3), and C (above middle C), again with the thumb (1). When you reach the G with the third finger, turn the thumb under the hand, leaving both finger and thumb in place, as shown in the photo:
Try to ensure that your hand keeps loose and relaxed as both notes are depressed. Again, it’s the release of tension in the hand and thumb joint as the notes are held which will help and encourage easy thumb movement. Now try this with left hand too; a C with the fifth finger, E with the fourth finger, G with the second finger, C with the thumb, and then turn onto the E with fourth finger, holding both the second C and E in place, releasing the thumb joint muscles. This gap might feel unnatural at first, but when combined with a free wrist and arm movement, it will eventually feel relaxed.
Aim to use thumbs on a scale. Taking C major again, try this fingering: 1, 2, 1, 2, 1, 2, 1, 2 or even: 1, 3, 1, 3, 1, 3, 1, 3.
This works well with a chromatic scale too. It may feel a little unorthodox to begin with, as the movements required will test the thumb, encouraging it to ‘move’ out of its comfort zone, but provided this is done with total flexibility in the wrist and arm, and without tension, the thumb should feel more controlled.
Finally, find an Alberti Bass pattern (a broken chordal accompaniment figure), which requires the use of thumbs. Here’s a left hand example from Beethoven’s Sonata in C minor Op. 10 No. 1 (first movement):
A weak or flabby thumb is very obvious in this pattern (generally the thumb would play the repeated middle Cs in the example above). The thumb must skim the keys lightly but very precisely and rhythmically. After blocking out the chordal pattern (playing the notes altogether, so you are aware of the fingering and note patterns), play deeply into the keys on every note, with a heavy tone. Accenting can help, at first just on the thumb, ensuring it plays on the right hand corner of the nail and with a good connection to the key surface. Now accent every note, employing a very free rotating wrist movement throughout. Once the fingers have been given a thorough work out, play the note patterns again very quickly and lightly ensuring a tight rhythm. It’s essential to balance the hand in passagework such as this, so a combination or finger/thumb power and wrist rotation will be crucial. But without an active thumb, achieving evenness will be almost impossible.
I hope these suggestions may be of help. They will at least draw attention to the plight of the thumb, so it hopefully won’t be a bystander during piano practice sessions.
Melanie Spanswick has written and published a wide range of courses, anthologies, examination syllabuses, and text books, including Play it again: PIANO (published by Schott Music). This best-selling graded, progressive piano course contains a large selection of repertoire featuring a huge array of styles and genres, with copious practice tips and suggestions for every piece.
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