Should I lift my finger before I hit a key when playing a piano?

Question

I've noticed, that many people are hitting keys, instead of just pressing them. It kinda looks like that before they press the note, they lift the finger a little bit, same as if you tried to hit a nail with a hammer.

Is this correct? Should I try to practice this, or instead just try to leave my fingers lying on the keys and just pressing them?

This looks a little bit like the exact opposite of typing on a keyboard, where I'm trying to just move around the keys and press them, without hitting too hard, which makes me type pretty fast (450-600 characters per minute). But I guess piano might require a different technique.

One funnny thing worth noting, after I finish playing the piano, I find myself typing on a keyboard much faster :)

Answer 1

The important thing is consistency. If you are playing the same style and volume, you should hit the keys the same way. When you move a finger from one key to another, you have to lift it a little. So when you play the same key twice, you should lift it a similar amount.

If you want to play loud, accented notes, it may help to lift your fingers a little farther. In a slow, smooth piece you may be able to rest your fingers on the keys and press the keys a little slowly.

Some players will get a little theatrical (or emotional?) and lift their hands and fingers inches above the keys before they hit a keys. But they don't usually do this all the time.

I think the most important thing to practice is precision -- hitting the key exactly at the right time and with consistent force. Bending your fingers helps. After you are precise, experiment with the different styles of hammering the keys.

Answer 2

On most instruments, including the piano, economy of movement is important. What is the least movement you can use, to get the sound you desire? Because using the least movement possible, is the least fatiguing, and by not wasting movement, you have the opportunity to play faster figures when you want to.

On a piano, the only variable (ignoring pedals) that affects the sound coming from the strings, is the velocity of the hammer when it strikes the string. The only influence you have on this, is the velocity of the key at a certain moment in its travel.

It's likely that you can achieve that velocity without letting go of the key -- but whatever feels comfortable is likely to be best for you.

It will also depend on the piano. Some pianos give you a long travel during which your finger and the key can gain velocity, others have less. Some pianos offer more resistance than others.

Use your ears. If it makes the sound you want, you're doing the right thing.

Answer 3

You definitely want to press the keys, not hit them. Your goal is to smoothly accelerate the key down. Ideally you should move from motionless contact with the keys into a downward press.

Of course, it may not be possible to make contact with the keys without also striking them depending on the speed of the piece and so on. However, if you feel the keys bounce off your fingers, that's a problem. The keys should never accelerate faster than your fingers, except perhaps when playing staccato.

After you've built your strength sufficiently, you should be able to produce fortissimo quite easily without "hitting" the keys. If you need to use the weight or inertia of your arms/hands then something isn't right. I totally agree with slim about the economy of movement as well, and playing some pieces requires extremely efficient motions that leave no room for lifting your hands more than necessary.

Answer 4

The attack is just as important as the release. Depending on the type of sound you want to come out, you need to have a correct attack, which may involve distance above the keys. For example, to play very quietly, height above a key is useful, since you can put your hand into a slow motion before the keys is pressed, and then retain that same motion after contact with the key.

The release is connected to the attack. Consider the difference between pressing a key and releasing it (something like using the accelerator pedal of a car), and pushing off of a key as the release (something like doing a standing long jump). The latter can provide awesome intensity in your music, much more than the former. Pushing off leaves your hands in the air, with great position to attack the next notes.

Some have called this type of movement emotional or theatrical. Sure. But it's real purpose is to put life into your instrument. To make the piano sing, you must let it become a part of your performance. How can you do this by keeping your hands solidly on the keys? You cannot. The reason professional pianists do this is not for theatrical value, it is to make you involved enough in your music so that others can understand it. Take, for example, Yakov Kasman, who won 2nd place in the Van Cliburn competition. In this video he lifts his hands all the time. I saw him in concert stand up multiple times while he was playing because that is what the emotion called for.

So, yes, lift those hands if you want. But always hit the right notes.

Answer 5

Do whatever is more comfortable for you and what produces the sound you're after. If it's a rather slow piece it really doesn't matter, and you can play-around and try out playing things differently.

For a fast piece you might not have much choice, so it's important that whatever-technique and approach you are choosing, it must scale well with increasing speed.

Answer 6

Yes and no. There's not really a good answer to this question. If you have a musical reason to strike keys, by all means do so.

However, an overly finger-y technique will quickly lead to repetitive motion injuries. You need to learn to incorporate wrist, arm and shoulder action to organize the motion of your fingers properly. Unless you learn this, you will have difficulty playing fast passage work with any kind of consistency. Also, your musical expression will suffer if you only use your fingers.

The best resource for elementary piano technique, other than a qualified teacher, is by far Barbara Lister Sink's "Freeing the caged bird." It discusses basic technique in excruciating detail. It's also a steal.