Playing the piano is fine motor skill requiring a complex set of coordinations between large and small muscle groups. For most students verbal descriptions and visual demonstration are not enough to convey the complexities of physical movement and a kinesthetic experience is necessary. This is particularly true of students who have ADHD or processing issues.

A change of alignment or physical gesture that could take hours to explain can be taught in seconds through touch. If a picture is worth a thousand words, a physical experience is worth a thousand pictures.

While the use of touch is a core teaching tool used by teachers from the “Russian School” (check out wonderful videos by Irina Mints and Irina Gorin for examples), it is less commonly used in the U.S. by non-Russian or European teachers. Understandably many teachers are cautious when using touch in the lesson and are not sure how best to go about it. Here are some tips for ways to introduce touch that respect the bodily autonomy of the student and helps them to develop a healthy technique.

Ground Rules:

Before introducing touch it is important to set some ground rules for the protection of the student and teacher.

1. When teaching minors, have another adult present observing lessons and/or an open door policy. In larger studios or school setting cctv cameras can offer additional protection.
2. When teaching a minor discuss the use of touch and how it will be used with the parent and ask for permission before touching the student.
3. Children have the right to bodily autonomy and may be uncomfortable being touched or have sensory issues. Always ask permission from the student at every lesson before touching (“Is it okay if I touch your hand?”). When touching a different body part ask again (Is it okay if I touch your forearm”). If they say, “no” respect their wishes.
4. Look out for non-verbal cues that the student may be uncomfortable with being touched.
5. A young student may be more comfortable being touched by a parent. Involving the parent can help ensure healthy practice habits at home.
6. When teaching minors restrict touching to the fingers, hands, forearm, elbow, and the top of the shoulder. When teaching adults, adjusting the hips, head, and shoulders is highly beneficial but special permission should be granted.
7. Only initiate touch when making a specific pedagogical point.
8. Touch should be gentle. Never touch a student in a way that would cause discomfort.

Finger, Hand, and Forearm

I. Bringing the hand to the keyboard:

Bringing the hand to the keyboard presents more challenges than one might think. Often students will lead with the fingers or wrist or initiate the movement from the upper arm or shoulder creating unnecessary effort.

By holding the student’s hand and forearm, and bringing it to and away from the keyboard, you can get students used to moving the finger, hand, and forearm as a unit. I will ask the student to give me the full weight of the forearm to avoiding any holding up in the upper arm.

II. Checking for tension:

Often students hold excessive tension in their joints without being aware of it. Lightly jiggling an area that you suspect might be holding tension can help build awareness in the student. I will also ask students to do the same with my hand or arms to better understand how they should ideally function. These movements should be small and gentle.

This is particularly true of the thumb which will often hold out and pull away from the hand.

The elbow which will pull away from the body (chicken arms) or squeeze at the sides.

And the non-playing fingers which will curl, straighten, or pull away from the hand.

II. Pat-a-cake and high-five

Pat-a-cake songs can be wonderful for helping young students to develop a sense of rhythmic pulse, develop confidence crossing the midline, and improve coordination.

The use of a “high-five” motion is beneficial to students of all ages as it encourages the pianist to activate the palm and initiate movement from the forearm rather than the fingers. For more information on using “high-five” movements to drop into the key please see my blog post on this topic.

III. Finger spots

Students often need more than a verbal description to know where on the finger they should be playing. Gently touching the tip or pad of the finger or the side tip of the thumb can offer tactile information that might otherwise elude them.

IV. Open but Unstretched

“Open but unstretched” is a term coined by Dr. Teresa Dybvig.

When the hand opens itself, it activates intrinsic muscles of the hand causing unnecessary tension.

The use of an outside agency like the friction of the key or the movement of the forearm can be used to open the hand without strain.

I find it useful to gently open the student’s hand for them to experience how the hand can open and close without unnecessary effort.

V. Forearm Rotation

Forearm rotation can be confusing for students as often the direction of the rotation is counterintuitive. This is particularly true of preparatory motions, which like the foot kicking a ball, move in the opposite direction of the note being played. To help students with rotation:

a. I would have the student touch my forearm to feel the direction and size of the turn.

b: Turn their forearm while they play to help them feel the direction of the turn.

c. Create a “hand sandwich” (thanks for the image Robert Dvorkin!) so that the student feels the hand and forearm turn as a unit rather than the arm turning and the hand staying behind.

VI. Shaping

I find having the students touch my forearm is particularly helpful for helping students to understand the elliptical motions of over-shapes (“rainbows”) and under-shapes (“smiles”) that are often called “wrist circles.”

Gently touching the back of the forearm can help the student to feel that the arm is responsible for moving the wrist rather than the wrist taking on the movement itself which causes large and awkward movements.

VII. Wrist

Wrists tend to droop causing the weight of the forearm to drop into the heel of the hand. Holding a finger under the palm can remind the student to not to droop. Fun games can be played with young children involving hungry sharks who like to nibble on drooping wrists.

On the flip side, students will sometimes jump out of the pan and into the fire by locking the wrist. Gently moving the hand and forearm up and down can remind the student to keep the wrist soft.

VIII. In and Out

When moving In and Out of the black key area in relation to the fallboard students will often curl the fingers or angle at the wrist rather than allowing the forearm to take responsibility for the movement.

Touching the back of the forearm can help remind the students to move in one piece without changing the alignment of the hand.

IX. Knuckles

Heaviness in main knuckles can be checked for by gently placing a finger underneath them to see if the knuckle is pushing down.

Other Parts of the Body

These are particularly sensitive areas so I recommend asking for additional permission from adults and having a parent make adjustments when working with minors.

I. Torso and Hip adjustment:

The strongest muscles of the body attach to the pelvis and are often referred to as the body’s “Power Center.” It is by tilting the pelvis at the hip joints forward, backward, and side to side, that we are able to negotiate the extreme registers of the keyboard.

When the hands are in front of the body, the pelvis will tilt back to allow the arms to pass in front of the torso.

When the hands are at the side of the body, the pelvis is tilted forward to balance the body into the keyboard. In my Feldenkrais sessions with Sharon Oliensis I am always shocked at how far forward she has me adjust my hips forward and how much additional flexibility this forward tilt gives me.

When both hands are at the extreme registers the pelvis will tilt even more forward.

When playing the extreme treble or bass registers the torso will rotate and the hips tilt to the left or right.

Most students will try to move from the waist rather than the hip joints which, like the mythical unicorn, does not exist other than for dressmakers. Helping a student to feel movement at the hip joints by tilting their pelvis can be a revelation.

II. Shoulders

The shoulder blades should feel rested down. Students will often initiate movement with the upper arm causing the shoulder to lift. Gently touching to top of the shoulder can remind students to keep the shoulders rested (watch for students going too far with this movement and pulling the shoulder blade down).

When the torso rotates to the right in order to play the treble end of the piano the right shoulder will slide towards the spine and the left fan out. The opposite movement is made when playing in the bass register. Cupping the shoulder blade with one hand and holding the top of the shoulder with the other can help students to feel this movement (due to limitations these two touches are shown separately).

III. Breathing:

Unless they have also studied singing most students are not familiar with how to breathe. Often students will take upper chest breaths which do not take in enough oxygen and causes the shoulders to raise. When using diaphragmetic breathing, the stomach area will expand forward during the in breath and the sides will move laterally. Exhaling on a “shh” will ensure that the student breaths out as well as in. The rib cage should remain expanded.

Placing one hand under the rib cage and another on the shoulder or sternum can help students to better feel their breath.

I hope this post has given you some ideas on how to introduce touch into a lesson. I know from my own lessons with master piano teachers and body workers that I have only brushed the surface with regards to the amazing power of touch and would love to receive tips from other teachers on how you use touch in the lesson.

For additional resources I recommend:

The Well-Balanced Pianist

Videos posted by The Golandsky Institute

Sheila Page’s Keyboard Wellness Seminar

Information from somatic education methods like Feldenkrais, Alexander Technique, and Iyengar Yoga.