Advanced Hand Strengthening Exercises for Piano Playing

            You may be just about DONE with hand strengthening exercises but I promise these will have effects that help you for years and years in ways you can’t even imagine.  For instance, my family’s favorite talent of mine is my ability to give a massage, whether for tired feet or an aching back.  See, lots of good side benefits!  Just make sure you’ve already done all the exercises from, at least, Blog Post 61 before you move on to this set.  Check these out!

·      BOTH HANDS TOGETHER – By this time, you should have been practicing single hand and both hand exercises consistently enough that this exercise will only be an extension of those, and not a real burden.  #1  - Playing both hands simultaneously, you will be playing and repeating fingers 1-2-3 in quadruplets – 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3.  These quadruplets should occur in, at least, 4 repetitions.  The goal, once again, is to play these quadruplets smoothly, consistently, and rapidly.  Once complete, you should move on to the 2-3-4-finger combination, then, 3-4-5.  These can then be practiced in a descending fashion, and even by “mixing” the finger numbers, such as practicing 3-1-2 or 5-3-4.  After this, work in groups of FOUR notes, such as 1-2-3-4, and then, all five notes, 1-2-3-4-5.  #2 – This exercise features “chord versions” for two or three fingers.  The first set of quadruplets will be playing chords in “thirds”, so 13, then 24, and finally, 35.  These are played similarly to the other exercises in quadruplets – 13-13-13-13, 13-13-13-13, 13-13-13-13, 13-13-13-13, and this pattern is repeated for each of the other thirds (24-24-24-24…35-35-35-35…).  NEXT, the chords will be “fourths”, which are 14, and 25.  Similarly, these should be practiced in quadruplets – 14-14-14-14,14-14-14-14, 14-14-14-14, 14-14-14-14… Later, 25-25-25-25, 25-25-25-25, 25-25-25-25, 25-25-25-25…  The final exercise in this section is practicing the chord quadruplets of a “fifth”, in this case, fingers 1 and 5 – 15-15-15-15, 15-15-15-15, 15-15-15-15, 15-15-15-15.  These quadruplets should be practiced over and over until their performance is smooth, consistent, and can be played rapidly.  Remember to keep your hands and body totally relaxed.   #3  - This is a “Compound” exercise with both hands using “chords” from the earlier exercise but this time, rather than playing them one at a time, you play them all in succession.  The chords must be played with the appropriate fingers, NOT with the same fingers, with the hand moving up or down.  This can be very difficult when you are beginning but it is amazingly helpful in application for playing songs as well.  Many times,  “choppy” playing or “distracted” playing is caused because the player does not understand proper fingering techniques.  This exercise will significantly aid players in being able to easily, smoothly, and flexibly maneuver over the keyboard.  Obviously it doesn’t happen overnight, but one of your goals for piano playing should be to be able to keep your eyes on your music and/or your audience, rather than having to stare at your hands on the keys the entire time.  To play this exercise, you play with the designated fingers – 13/24-13/24- 13/24-13/24…  These quadruplets are practiced, as with other exercises, over and over until they are smooth and can be performed flexibly and quickly.  The next sequence will be 24/35-24/35-24/35-24/35…  Next, you will do the compound chords with the two fourths, 14 and 25.  The sequence looks like 14/25-14/25-14/25-14/25…  These exercises can be quite challenging, so give yourself time and be patient with yourself.  It is also very important to continue these exercises, not only, ascending but descending as well.  #4 – This exercise does NOT make use of the quadruplet repetition; these are to be played individually.  However, they SHOULD be played with both hands.  There are a number of different combinations of notes and there is no specific order but here are a few of the combinations.  Play the designated finger numbers and remember, you can also create your own combinations.  Here are a few ideas:  1342, 13452, 12534, 5342, and 43152.  #5 – This last exercise also does not use quadruplets but speed is the desired outcome.  The desired outcome for this is flexible articulation.  By this I mean, if you have been practicing all the other exercises faithfully, you should be able to “articulate” these activities pretty easily.  These are performed in a connected way, as opposed to staccato.  You will be doing “trills”, as well as “runs”.  A trill involves the playing of two notes back and forth in rapid succession – 2323232323232323232323.  Your performance should remain smooth and even.  If there is hesitation or syncopation in the sound at all, stop, relax, and start again.  Next, move up to trill the 34, and then, to 45.  These last two trills are the most difficult, and may require extra time to master.  To perform a “run” is simply to smoothly and evenly play a series of notes, such as 1234, 12345, or 54321.  Whichever sequence you choose, perform it with both hands until you are relaxed, and your playing is consistent and flowing.

            Thank you for reading and for working so hard on these exercises!  Hopefully, you’re going to be very happy with the results.   Your hands will be markedly stronger with greater flexibility and agility, allowing you to play pretty much any style of music.  Please send me your questions, comments, and suggestions for future blog post topics.  If you have questions about my lessons or me, check out my website at www.SingitForward.net.   I hope this is wonderfully and practically helpful for you all.  Sing it forward!

            You may be just about DONE with hand strengthening exercises but I promise these will have effects that help you for years and years in ways you can’t even imagine.  For instance, my family’s favorite talent of mine is my ability to give a massage, whether for tired feet or an aching back.  See, lots of good side benefits!  Just make sure you’ve already done all the exercises from, at least, Blog Post 61 before you move on to this set.  Check these out!

·      BOTH HANDS TOGETHER – By this time, you should have been practicing single hand and both hand exercises consistently enough that this exercise will only be an extension of those, and not a real burden.  #1  - Playing both hands simultaneously, you will be playing and repeating fingers 1-2-3 in quadruplets – 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3.  These quadruplets should occur in, at least, 4 repetitions.  The goal, once again, is to play these quadruplets smoothly, consistently, and rapidly.  Once complete, you should move on to the 2-3-4-finger combination, then, 3-4-5.  These can then be practiced in a descending fashion, and even by “mixing” the finger numbers, such as practicing 3-1-2 or 5-3-4.  After this, work in groups of FOUR notes, such as 1-2-3-4, and then, all five notes, 1-2-3-4-5.  #2 – This exercise features “chord versions” for two or three fingers.  The first set of quadruplets will be playing chords in “thirds”, so 13, then 24, and finally, 35.  These are played similarly to the other exercises in quadruplets – 13-13-13-13, 13-13-13-13, 13-13-13-13, 13-13-13-13, and this pattern is repeated for each of the other thirds (24-24-24-24…35-35-35-35…).  NEXT, the chords will be “fourths”, which are 14, and 25.  Similarly, these should be practiced in quadruplets – 14-14-14-14,14-14-14-14, 14-14-14-14, 14-14-14-14… Later, 25-25-25-25, 25-25-25-25, 25-25-25-25, 25-25-25-25…  The final exercise in this section is practicing the chord quadruplets of a “fifth”, in this case, fingers 1 and 5 – 15-15-15-15, 15-15-15-15, 15-15-15-15, 15-15-15-15.  These quadruplets should be practiced over and over until their performance is smooth, consistent, and can be played rapidly.  Remember to keep your hands and body totally relaxed.   #3  - This is a “Compound” exercise with both hands using “chords” from the earlier exercise but this time, rather than playing them one at a time, you play them all in succession.  The chords must be played with the appropriate fingers, NOT with the same fingers, with the hand moving up or down.  This can be very difficult when you are beginning but it is amazingly helpful in application for playing songs as well.  Many times,  “choppy” playing or “distracted” playing is caused because the player does not understand proper fingering techniques.  This exercise will significantly aid players in being able to easily, smoothly, and flexibly maneuver over the keyboard.  Obviously it doesn’t happen overnight, but one of your goals for piano playing should be to be able to keep your eyes on your music and/or your audience, rather than having to stare at your hands on the keys the entire time.  To play this exercise, you play with the designated fingers – 13/24-13/24- 13/24-13/24…  These quadruplets are practiced, as with other exercises, over and over until they are smooth and can be performed flexibly and quickly.  The next sequence will be 24/35-24/35-24/35-24/35…  Next, you will do the compound chords with the two fourths, 14 and 25.  The sequence looks like 14/25-14/25-14/25-14/25…  These exercises can be quite challenging, so give yourself time and be patient with yourself.  It is also very important to continue these exercises, not only, ascending but descending as well.  #4 – This exercise does NOT make use of the quadruplet repetition; these are to be played individually.  However, they SHOULD be played with both hands.  There are a number of different combinations of notes and there is no specific order but here are a few of the combinations.  Play the designated finger numbers and remember, you can also create your own combinations.  Here are a few ideas:  1342, 13452, 12534, 5342, and 43152.  #5 – This last exercise also does not use quadruplets but speed is the desired outcome.  The desired outcome for this is flexible articulation.  By this I mean, if you have been practicing all the other exercises faithfully, you should be able to “articulate” these activities pretty easily.  These are performed in a connected way, as opposed to staccato.  You will be doing “trills”, as well as “runs”.  A trill involves the playing of two notes back and forth in rapid succession – 2323232323232323232323.  Your performance should remain smooth and even.  If there is hesitation or syncopation in the sound at all, stop, relax, and start again.  Next, move up to trill the 34, and then, to 45.  These last two trills are the most difficult, and may require extra time to master.  To perform a “run” is simply to smoothly and evenly play a series of notes, such as 1234, 12345, or 54321.  Whichever sequence you choose, perform it with both hands until you are relaxed, and your playing is consistent and flowing.

            Thank you for reading and for working so hard on these exercises!  Hopefully, you’re going to be very happy with the results.   Your hands will be markedly stronger with greater flexibility and agility, allowing you to play pretty much any style of music.  Please send me your questions, comments, and suggestions for future blog post topics.  If you have questions about my lessons or me, check out my website at www.SingitForward.net.   I hope this is wonderfully and practically helpful for you all.  Sing it forward!

            You may be just about DONE with hand strengthening exercises but I promise these will have effects that help you for years and years in ways you can’t even imagine.  For instance, my family’s favorite talent of mine is my ability to give a massage, whether for tired feet or an aching back.  See, lots of good side benefits!  Just make sure you’ve already done all the exercises from, at least, Blog Post 61 before you move on to this set.  Check these out!

·      BOTH HANDS TOGETHER – By this time, you should have been practicing single hand and both hand exercises consistently enough that this exercise will only be an extension of those, and not a real burden.  #1  - Playing both hands simultaneously, you will be playing and repeating fingers 1-2-3 in quadruplets – 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3, 1-2-3-1-2-3-1-2-3-1-2-3.  These quadruplets should occur in, at least, 4 repetitions.  The goal, once again, is to play these quadruplets smoothly, consistently, and rapidly.  Once complete, you should move on to the 2-3-4-finger combination, then, 3-4-5.  These can then be practiced in a descending fashion, and even by “mixing” the finger numbers, such as practicing 3-1-2 or 5-3-4.  After this, work in groups of FOUR notes, such as 1-2-3-4, and then, all five notes, 1-2-3-4-5.  #2 – This exercise features “chord versions” for two or three fingers.  The first set of quadruplets will be playing chords in “thirds”, so 13, then 24, and finally, 35.  These are played similarly to the other exercises in quadruplets – 13-13-13-13, 13-13-13-13, 13-13-13-13, 13-13-13-13, and this pattern is repeated for each of the other thirds (24-24-24-24…35-35-35-35…).  NEXT, the chords will be “fourths”, which are 14, and 25.  Similarly, these should be practiced in quadruplets – 14-14-14-14,14-14-14-14, 14-14-14-14, 14-14-14-14… Later, 25-25-25-25, 25-25-25-25, 25-25-25-25, 25-25-25-25…  The final exercise in this section is practicing the chord quadruplets of a “fifth”, in this case, fingers 1 and 5 – 15-15-15-15, 15-15-15-15, 15-15-15-15, 15-15-15-15.  These quadruplets should be practiced over and over until their performance is smooth, consistent, and can be played rapidly.  Remember to keep your hands and body totally relaxed.   #3  - This is a “Compound” exercise with both hands using “chords” from the earlier exercise but this time, rather than playing them one at a time, you play them all in succession.  The chords must be played with the appropriate fingers, NOT with the same fingers, with the hand moving up or down.  This can be very difficult when you are beginning but it is amazingly helpful in application for playing songs as well.  Many times,  “choppy” playing or “distracted” playing is caused because the player does not understand proper fingering techniques.  This exercise will significantly aid players in being able to easily, smoothly, and flexibly maneuver over the keyboard.  Obviously it doesn’t happen overnight, but one of your goals for piano playing should be to be able to keep your eyes on your music and/or your audience, rather than having to stare at your hands on the keys the entire time.  To play this exercise, you play with the designated fingers – 13/24-13/24- 13/24-13/24…  These quadruplets are practiced, as with other exercises, over and over until they are smooth and can be performed flexibly and quickly.  The next sequence will be 24/35-24/35-24/35-24/35…  Next, you will do the compound chords with the two fourths, 14 and 25.  The sequence looks like 14/25-14/25-14/25-14/25…  These exercises can be quite challenging, so give yourself time and be patient with yourself.  It is also very important to continue these exercises, not only, ascending but descending as well.  #4 – This exercise does NOT make use of the quadruplet repetition; these are to be played individually.  However, they SHOULD be played with both hands.  There are a number of different combinations of notes and there is no specific order but here are a few of the combinations.  Play the designated finger numbers and remember, you can also create your own combinations.  Here are a few ideas:  1342, 13452, 12534, 5342, and 43152.  #5 – This last exercise also does not use quadruplets but speed is the desired outcome.  The desired outcome for this is flexible articulation.  By this I mean, if you have been practicing all the other exercises faithfully, you should be able to “articulate” these activities pretty easily.  These are performed in a connected way, as opposed to staccato.  You will be doing “trills”, as well as “runs”.  A trill involves the playing of two notes back and forth in rapid succession – 2323232323232323232323.  Your performance should remain smooth and even.  If there is hesitation or syncopation in the sound at all, stop, relax, and start again.  Next, move up to trill the 34, and then, to 45.  These last two trills are the most difficult, and may require extra time to master.  To perform a “run” is simply to smoothly and evenly play a series of notes, such as 1234, 12345, or 54321.  Whichever sequence you choose, perform it with both hands until you are relaxed, and your playing is consistent and flowing.

            Thank you for reading and for working so hard on these exercises!  Hopefully, you’re going to be very happy with the results.   Your hands will be markedly stronger with greater flexibility and agility, allowing you to play pretty much any style of music.  Please send me your questions, comments, and suggestions for future blog post topics.  If you have questions about my lessons or me, check out my website at www.SingitForward.net.   I hope this is wonderfully and practically helpful for you all.  Sing it forward!