What is Piano 'Touch'?

In lessons and practice, everyone has heard phrases like "with a more delicate touch" or "with a powerful touch" at least once.

However, have you ever felt frustrated when, despite being instructed to do so, changing only the way you press the keys or the dynamics (volume) didn't result in as much change in the sound's resonance or expression as you expected?

In fact, I myself faced the problem for nearly 10 years, starting from middle school, that "even though I changed the dynamics and the way I struck the keys, the fundamental sound quality and resonance didn't change."

This time, I'll talk about a perspective that can clearly resolve such long-standing frustration and dramatically transform your performance into a three-dimensional one: "touch = changing the material of your fingers."

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1. Why Doesn't the Sound Change Even if You Change the "Way You Strike"?

The piano is a "string instrument" that produces sound by striking strings with hammers.

Imagine for a moment. When striking a large bell in a shrine or temple, how much does the sound change if you strike it with a thick "wooden log" versus an "iron rod"? Even if you strike with the same force (way of striking), the resonance and texture of the sound will be fundamentally different depending on "what (material) you strike it with," won't they?

Conversely, even if you only try to vary the way you strike with the same wooden log, only the volume will change significantly, and the "texture" of the sound itself won't change much.

Piano touch is exactly the same. Instead of simply changing the force or the way you press the keys (= changing the way you strike), being conscious of "what material (substance) your fingertips are when they touch the keys" is the key to fundamentally changing the tone.

2. Visualizing "Finger Material" to Create Layers of Sound (Plan Sonore)

In French piano education, the concept of "plan sonore (sound structure/conception)" is often used.

It's a way of giving each sound a three-dimensional hierarchy and color, much like an orchestra where soprano (main melody), inner voices, and bass (low notes) overlap. To beautifully depict layers of sound overlapping like a mille-feuille, a clear differentiation of timbre is essential, not just variations in volume.

This is where the differentiated use of "finger material" comes into play.

"Pinky Fingers of Both Hands as Steel, Other Fingers as Cotton"

Due to the piano's structure, the pinky finger is the thinnest and most delicate, yet musically, it is often required to produce the strongest and most unwavering sound, whether as the top line of a melody or as the bass supporting the harmony.

Therefore, I recommend imagining that "the material of the pinky fingers of both hands is 'steel,' and the other fingers are 'fluffy cotton'."

• Steel fingers (pinkies, etc.): Bend the finger into a V-shape from the third knuckle, firmly bracing it to create support. By supporting the weight of the entire arm at a single point and transmitting it to the key as if stabbing, a thick, firm, and powerful sound (the resonance of steel) is produced.

• Cotton fingers (fingers responsible for inner voices, etc.): Use the pad of the finger and gently touch the key with relaxed strength to create a warm, enveloping sound (the resonance of cotton).

Simply by being conscious of changing the "material" for each finger in this way, the separation of sounds within the same hand becomes astonishingly clear, and a vibrant three-dimensionality emerges in your performance.

3. Three Tips for Finger Approach You Can Try Right Now!

So, how exactly can you control the material of your fingers and the tone? When practicing, focus on the following three points:

1. Vary the "contact area" touching the key

   • Touch softly and broadly with the pad of the finger (mild, warm material)

   • Round the fingertip and touch with a point (clear, standard material)

   • Touch with a sharp point close to the tip of the nail (hard, bright material)

2. Vary the "firmness (support)" of the joints

   • Fix the joint without wobbling and transmit the arm's weight directly (steel-like strength)

   • Keep the joint flexible and loosen it to absorb impact (cushion-like softness)

3. "Blend" finger materials according to their role

   • Give fingers supporting melodies and bass a metallic core, while lightly touching harmonic accompaniment parts like feathers.

Summary: Turn Everyday Physical Sensations into Your Performing Weapon

Highlighting melodies and bass, and subduing inner voices to create three-dimensionality, is a fundamental aspect of classical piano performance. However, opportunities to articulate "how exactly to use your body and fingertips to achieve this" might be surprisingly rare.

"Touch = choosing the material of your fingers"

Once you grasp this sensation, you'll be able to move beyond relying solely on volume control and play with refined, expressive, and wonderful tones.

If you're worried that "my playing lacks dynamism lately" or "my sound seems flat," please try imagining your fingertips as "steel" or "cotton" and touching the keys in your next practice session.

May your piano life be richer and full of discoveries.

Haruka Ogawa