This really is a great topic to cover and there is a ton of information for you. There are two distinctly different types of repeated notes: slow repeated notes and fast repeated notes. I’m going to cover both of these techniques this week.
Let’s start with fast repeated notes. The easiest way to handle a fast note played over and over again would be to use two hands. However, for most music this is not going to be an option. Most of the time you will have to learn how to handle fast repeated notes with one hand, and the only way to achieve this is by changing fingers. You MUST change fingers in order to play the notes fast enough.
The most important thing is finding a fingering that works for you. Typically, 3-2-1 is a very good fingering for playing fast repeated notes. In the video above I demonstrate this on one of Scarlatti’s sonatas. I provide some additional instructions specifically on how to approach this; if you have time to watch, you may appreciate this.
Another thing to keep in mind when approaching fast repeated notes is that upright pianos will not be able to handle it. Not all grand or baby grand pianos can even handle the high level of repetition needed but it will need to be regulated well in order to play fast repeated notes.
So how is it done? It is absolutely essential to keep your fingers right over the keys. There isn’t time to make any motion beyond what is needed, so keep your fingers hovering very close over the keys. Also, keep your hand relatively stable, curve your fingers (keep them rounded) and try to hit the middle of the key. It’s best to practice slowly, with a metronome, and work your way up to speed slowly.
When it comes to slow repeated notes there are different schools of thought on how to approach them. I have a bias in the technique I use, however, the method I use is also used by many great pianists.
In the video I demonstrate these techniques on a Mozart Sonata. If you have the time to watch I would definitely recommend it.
Make sure that slow repeated notes are played as smoothly as possible. The big problem with the piano is that no matter how hard you try to connect repeated notes of the same note, they will always be detached in some way. This is because the dampers will always end the notes when they are released.
The trick is to not play the notes with one finger. Just like playing fast repeated notes, if you play with a finger pattern (like 3-2-1) you will be able to get a much better legato. Now the one problem with this is that if you if try and play the notes slowly with different fingers, you may find that a note doesn’t play. This is because the weight of your arm will most likely have your finger pushed down too hard for repetition. The trick is to keep the hand floating above the key putting minimal arm weight into playing. Having a high release of each finger allows the next finger to play the key again. If you do this, you will produce a stunning legato.
Make sure to practice the above technique without the pedal and try to achieve the smoothest legato you can.
Thanks for joining me again, Robert Estrin: Robert@LivingPianos.com 949 244 3729
7 thoughts on “How to Play Repeated Notes on the Piano – Piano Lessons”
It would be helpful to have more of a top view in the video, close to a player’s eye view, to see exactly how you get all three fingers onto one key.
— J.S.
My compliments and gratitude for your well planned and artistically presented technique tips.
I love t
Your discussions. Do you think that repeated notes (fast) should crescendo to the next note if it isa strong beat or down beat–so that notes have a sense of direction?I am not thinking of a big cresce do-just enough to lead into the next musical idea. I have heard it done very well and wonder if it is a general idea or is just in a some instances.
Deborah
Great job–thank you. I do agree with JS that an overhead view would help greatly. Thanks again. Best, Gary
I got home and tried this on the piano last night. First big surprise, repeated notes are everywhere. I thought that this wouldn’t be as important as it is.
First, let me say that I’m nowhere near as good a player as you are. I’ve only been at it for a little over two years. What I play is all popular music from roughly the first half of the 20th century. What I do with each new piece is work out and write down a complete fingering, and then memorise it that way. So, changing fingerings is hard for me. Is that a mistake?
I noticed that I do change fingers on repeated notes sometimes, but so far only in places where it helps to move my hand to where it needs to go next. There’s some of that in “As Time Goes By”. That’s another reason to try this technique.
On slow to medium speed repeats, if you don’t want legato, it seems to work fine either way. Medium fast stuff like the bridge of “Anything Goes” is easier for me using the same finger. So, I’ll probably keep my memorised fingerings for most of that.
Where it’s really slow and you do want legato, for instance the first two bars of “Night and Day”, lifting the dampers with the pedal still seems to take it farther in the legato direction, and there’s plenty of time to drop them and silence the unused strings between repeats. But that’s one of the rare places where I have fingers left over, so I’ll try using more of them. 😉
Where this technique really helps is in fast repeats where you have enough fingers available. There are some parts in “The Stripper” (David Rose, 1958) that I’m going to re-finger and re-memorise. That, so far, is the biggest improvement.
Thanks again, Robert. These videos are very useful.
— J.S.
I’ve been playing the piano, Lounge act and jazz, for 80 years. (Yes, I’m 88). For repeated groups of three, I find it useful to use 4-3-2 fingers for the “William Tell Overture, the Lone Ranger part. Does anyone use 5-4-3-2 for repeated 16th notes?
Hi, Deane — I find that 4-3-2 works out quite well, too. I’m using it for “The Stripper”, where there’s a repeating pattern of a triplet of eighth notes followed by a quarter note. I use 4-3-2 for the triplet, and 3 for the quarter note. This is all on B-flat, it’s easier to use multiple fingers on black keys.
— J.S.