Thirds on the piano can be very difficult. We only have five fingers on each hand so negotiating thirds can be a real challenge. As with other aspects of piano technique, fingering is critical. Here are some related resources for you:
How to Practice Scales & Arpeggios and Brilliant Piano Fingering Technique.
In this article and video, you will find some tips on how to approach thirds and some routines to add to your practice. Of course, thirds can be practiced endlessly. It’s said that Josef Lhévinne practiced the Double Thirds Etude by Chopin for ten years before performing it! His historic recording of the piece is a testament to this fact.
https://www.youtube.com/watch?v=0XCj-j7TBTY
In the following tips, I utilize a D Major Scale played in thirds.
A great way to practice thirds (this example refers to the right hand) is to play the top notes legato and the bottom staccato; doing this will help to clarify the melody notes. You can make it a bit simpler for yourself by trying to play the top notes and leaving out the bottom notes. You can also try playing every other note on the bottom and then go through and play the notes you left out the first time.
All of these simple techniques will help you develop the muscle memory and strength to play thirds with precision. Try practicing with a metronome to keep consistency and remember that fingering is critical in playing thirds. Check out the videos links above for more fingering techniques.
Thanks again for joining me and keep those questions coming: Robert Estrin Robert@LivingPianos.com (949) 244-3729
5 thoughts on “How to Approach Thirds on The Piano”
The methods showed are rather scarce, and unfortunately you do not demonstrate the impact of working such a way with Chopin’s étude or any other piece such as Semaine grasse from Petrouchka / Stravinsky, Fantaisie from Don juan / Liszt, or Mazzepa / Liszt.
One other point I’m making is that there is for instance no display of a method to increase the speed, or to improve the legato. The staccato(bottom)-legato(up) is however one way to improve legato, clarity of both movement and sound, and it could be also reversed ie., staccato(up)-legato(bottom).
And to finish, you talk about what to do, but not what to think nor how to work which is a lot more important. One may do without actually working or improving.
This video and article illustrate one way to approach thirds on the piano. You are welcome to articulate other ways of working on thirds.
South Pasadena High School, in the 40’s and before, had a very nice pipe organ and the advanced piano students were allowed to take lessons on it. Legato thirds on the organ are played by changing fingers while the keys are still held down. 1-3 to 2-4 and holding these, switch to 1-3 and then on up to the next third using 2-4. I still practice this on the piano.
I learned different techniques on the organ, which caused me to spend a great deal of time on fingering thirds on the piano, accordion and organ. One method begins with either 1-3 or 1-5 then follows with 2-4. Another method uses finger substitution, and still another uses a finger slip technique , and another involves the thumb glide. I am still coming up with different methods of playing legato thirds.
Unlike scales and arpeggios on the piano, there aren’t standard fingerings for 3rds on the piano. Coming up with solutions that work as you are doing is exactly what you need to do!