Welcome to LivingPianos.com, I’m Robert Estrin. Today, let’s talk about one of the trickiest aspects of piano playing: the fourth finger. If you’ve ever struggled to get this finger to cooperate, you’re not alone! The fourth finger is often a challenge for many pianists, and it can make some passages more difficult than they need to be. But why is it so tricky?
Why Is the Fourth Finger So Difficult?
Try this: lift just your fourth finger while keeping the others on the keys. It’s harder than it sounds, right? The fourth finger is naturally weaker than the others, and it doesn’t move as independently as the thumb or middle fingers. This can be especially challenging when you’re trying to play with evenness and precision. In fact, even great composers like Robert Schumann were frustrated with their fourth finger. Schumann struggled with its weakness so much that he used a contraption to try to strengthen it. Although the details of the device are unclear, it was said to involve pulleys and weights—but unfortunately, it caused more harm than good. So, let’s not take extreme measures like Schumann did! There are better ways to strengthen the fourth finger without causing any damage.
Strengthening the Fourth Finger
The good news is that there are ways to work on strengthening the fourth finger that will help improve the independence of all your fingers. One of the unique challenges of piano playing is that the strongest fingers (the thumbs and middle fingers) are in the middle, while the weaker fingers (the pinky and fourth finger) are on the outside. This imbalance can create problems when you need to achieve even voicing in your playing. For example, if I let my hand fall naturally onto the keys, the sound might end up uneven. The result is an imbalanced sound, with the stronger fingers dominating. To fix this, you need to shift the weight of your hand toward the weaker fingers—especially the fourth and pinky fingers. This will help you balance out the sound and create a more even tone. By practicing this, you’ll learn how to distribute the weight properly, which is crucial for bringing out both the bass and the treble lines in a piece.
Clean Scales: Focus on the Release
Another issue pianists face is sloppy scale playing, which can often be traced back to poor finger release. If your fourth finger doesn’t lift cleanly from the key, it can leave an unwanted sound behind, making the scale sound messy. To improve this, focus on the release of each note so that the note is cleanly released from the key. You can practice this by slowing down your scales and exaggerating the release:
1.Set your metronome to a slow tempo.
2.Play one note per beat, making sure to lift each finger high enough to clear the key, especially the fourth finger.
This slow practice will give you the time to pay attention to your hand and make sure the notes are released cleanly. Over time, this will help you build strength and control in your fourth finger, and your scales will sound much cleaner.
Developing Control Over Melody and Harmony
Your thumbs are naturally stronger, so when you’re playing, the tendency is for them to dominate the sound. But to bring out the melody clearly, you need to practice controlling the strength of each finger and where the weight is placed. A good exercise is to practice bringing out each voice in a chord progression. For example, take a simple chord progression and focus on each voice: soprano, alto, tenor, and bass. This can be a good way to practice controlling the strength of each finger and ensuring you can highlight the important voices in your music. By practicing this way, you’ll get better at controlling each voice in more complex pieces, too. Whether you’re playing a simple hymn or a more intricate score, you’ll be able to express each line clearly and evenly.
Embrace the Fourth Finger
The fourth finger might be a little tricky, but with patience and practice, you can gain control and strength in that finger. By focusing on clean releases, proper hand balance, and making sure you lead with the right fingers, you’ll improve your overall playing and get a more even sound. So, next time you’re practicing scales or a challenging piece, take it slow and pay attention to those little details. With time and careful practice, your fourth finger will become strong and reliable. I’m Robert Estrin here at LivingPianos.com, Your Online Piano Store. Thanks for joining me, and I’ll see you next time!
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3 thoughts on “The PROBLEM FINGER in Piano Playing”
I was never taught this, as a young piano student that started lessons, thanks to my Mom who raked up $1 every week for the first two years of my lessons. I just figured the blessed problem out eventually, when I began teaching in my early 20’s.
Strange as it may sound to some teachers, I taught my young students, only a few years later, to notice their hands the very first lesson. Along with that, I showed them how the ringers were anatomically tied together to produce this problem that all good pianists would have to work hard to overcome.
The discovery of the problem took place simultaneously with my first career that was underway at the same time I was going home on weekends to teach. The first career being nursing.
So, by the time I left nursing decades later, to spend most of my time working with more of my right brain without all the crazy paperwork created by “Medicare nursing.”
I took the 4th finger challenge straight into a 3rd career–writing (another combo field of right over left-brain most days). And I have written as the certified psychiatric nurse I had become on my way to being an almost fulltime piano teacher to “kids” from ages 5 to 85.
My oldest student, unknowingly, was playing for his funeral when his kid recorded him for the big screen, where he sat over his casket, after starting piano at age 75!!
It’s all been so much fun. So now, at almost 80, I’ve retired from teaching. Yet I stumbled on your terrific site while seeing what I could find in collaboration on this 4th finger dilemma, doing all because I have two granddaughters bringing their sweethearts to meet me next week, from Europe.
As a natural-born teacher, I will have fund embellishing what I have long known PLUS what you have taught me even more about for them to take back across the pond. Thanks!
I love to hear about players and teachers who share the knowledge I present—keeping the piano alive for future generations!
Besides scales and Hanon, another great study book to develop equal strength and agility of each finger is Schmitt, Op 16 (which I started when I was 2 years and 8 months old!)By the time you reach exercise 34 you need to hold down one key and play the other 4 fingers. It gets worse by exercise 65 when you hold down 2 keys and play the other 3, etc.