Strengthening Fourth and Fifth Finger

I appreciated your comment, although I do not entirely agree that finger strengthening is something superfluous or even a mere chimera. It is true that one should not become obsessed with strengthening alone, as it can produce more problems than improvements, but finger strengthening is something that lies at the foundation of weight transmission. Fingers, or more generally, a hand structure that is too weak does not entirely transmit the weight from the shoulder to the fingertip and therefore to the key. We must also remember that sometimes the intention to transfer a certain weight actually starts from the back at the level of the lumbar muscles. It is unthinkable to manage to transfer all this energy if the fingers, which are the final stage of this transfer, are unable to withstand it. I fully agree, moreover, that mental clarity lies at the base of the perfect execution of a technical gesture.

hi Simone, I understand your point of view regarding the involvement of the musculature, but I don't entirely agree, because I believe that the solution to all problems related to fingering can only be achieved through correct "movements."

For example, the repetition of exercises, like if we take even just the basic ones from Hanon, which more or less all students know, what kind of utility can they have?

It certainly isn't the strengthening of the musculature.

Despite their apparent simplicity, they put a skilled student to the test, but not because of a muscular deficiency, but because they are unable to find the right movement necessary to overcome the exercise; likewise, assuming they have found it, they are unable to repeat it for 4 octaves, ascending and descending, but it is not strength that is lacking, but the awareness of the necessary gestures.

The right movement found in the first octave will not work for the next one and so on......... adjustments are needed, of the wrist, of the elbow, etc...

In my very modest opinion, there are no piano scores that require more strength than what is already present in a first-year student.

Just think of young Asians who, with their small hands, perform pieces of considerable difficulty and duration, or Chopin who, with his slender and fragile build, performed his Etudes spaccadita.............

Of course, it's easier said than done, but I believe that the key to all problems is "the harmony" of gestures

We have different perspectives, or perhaps the same ones. I believe that a high level of technique is achievable through various factors. Gestures, as you say, are very important, but the quality of the hand also holds great importance. By quality of the hand, I mean structure, speed, endurance, and strength. I have met many people with very slender hands and the result was "slender." In piano playing, it is necessary to be able to exploit all dynamics from ppp to fff. I have heard slender hands that barely reached an ff. In another post, Pianoexpert spoke about Chopin's studies which the composer heard from the hands of Franz Liszt; I invite you to read it... (not to imply that Chopin did not possess the technique to perform his studies, here we are only talking about hands!)

To be clear, however, I am not in favor of finger gymnastics for its own sake, and I would not want this thought to have emerged from the previous post. But I believe that a solid hand structure can have benefits for the realization of any repertoire. I realize, however, that motivating an argument like this via a forum is impossible because it would require practical examples, so I do not expect to convince you in this way...

Well! I see we are talking about piano technique "gestures" again! I agree with both of you... perhaps you are saying the same thing and/or you have the same idea. It is clear that the hand must have its own solid shape and the fingers must learn to "trust" the weights and contributions transmitted from the forearm, the arm, the shoulder, etc.. One can also grow and reach a diploma without completely understanding and feeling what function of "support" and "holding" the fingers must have....but, in my opinion, one will not go far. I see some graduated pianist friends who would find it difficult to realize this concept. They seek, for example, cantabile without having learned to "gravitate" with "sincere" weight on the keyboard. I always use the example of Rubinstein, who made us feel in the shoulder the weight of his right hand on his fingers: impressive!!!! Listen to his cantabile, how strong and legato it is, achieved (it can also be seen from videos) with great gravitation and in some cases with "pressure". Instead, the sound of these pianists I mentioned before is uncertain and impersonal and moves in a very limited range between ff and pp. Now, one must not believe that it is necessary, as is common in some mid-nineteenth century "techniques", to always play "with weight". Even Sandor, whom I esteem very much, emphasizes this in his book. However, it is necessary, in my view, to know and feel where the bottom of the key is and to be able to find good "adherence" on the keyboard, as Casella says in his wonderful book, ...."like the tires of a car on the road". Then, I believe, all the "fundamental gestures" can be experimented with and understood, which, obviously, include many other movements related to gravitation. I also hear, and then I will stop boring you, many Masters who insist for months and years on "the fall"....until the hoped-for perfection... which never appears. I believe it would be better to illustrate and experiment with what we need in order to "play", that is, to clarify immediately that the fingers are the "terminal" anatomical element and have the great responsibility of "receiving" muscular contributions. Therefore, I am personally opposed to repeating exercises that aim to "strengthen" the fingers. As technique advances, the fingers will gradually acquire a awareness, especially cerebral, which will transform into energy—the energy of a moment—which translates, apparently, into "tension-free" strength. Then I would like to say (and then I am truly finished) that it is a utopia to try to bring the fingers "to the same strength". The fourth and fifth fingers have different physiognomies and strengths, but it will be the cerebral command that compensates for their different nature. Accents also help and place the function of the fingers in a "rhythmic program" that helps them overcome difficulties of equality. That's all. Thank you

In my opinion, Simon has already said everything:

Chopin Op.10 n.2

Even just studying a single measure slowly is an important milestone.

If you want, you can try practicing the right hand with that descending fingering as well. I refused to do it.