“The foundation of the Piano technique is based on the total, complete and absolute relaxation of muscles that do not intervene, to give freedom of action to those who intervene”

Antonio Cardellicchio

The table exercise is the first approach to the piano technique. We will use the world-renowned Scaramuzza Technique. This method is part of a long tradition passed by Martha Argerich, Bruno Gelber and Daniel Barenboim, three top-rated pianists in the world.

Juan Rezzuto, Director at WKMT, has received directly from the Maestro Bruno Gelber, being his mission to keep this technique alive.

STEPS:

• 1. Place your hands on the edge of the table (you can use the lid of the piano) with your palms facing down.
  2. Open your hands and lay your fingers flat on the table.
  3. Imagine grabbing a piece of fabric under your fingers just enough to raise your palms off the table. Your fingers should be curved from the tip, forming a nice arch.
  4. Slide your hands down the table towards you until your thumbs are near the edge.
  5. Lift your fifth finger (pinky) as high as you can without tensing up. If you feel tension, stop and place your finger back on the table.
  6. Once you can lift without tension, lift finger 1 (thumb)… then 2… then 4. Keep the third finger (middle finger) down, supporting all the weight of your arm on it for a while (this should feel slightly challenging). Then sequentially transfer the weight to fingers 2, 1, 4, and finally 5.

  Observations:

  • Always go back a step if you feel any tension.
  • Your elbows should feel loose and relaxed at all times. Be mindful of their position.

Finger numbers

To play the Piano, we should know first that every finger has been assigned a number.

Number 1 starts with our thumbs, number 2 the index, number 3 the middle finger, number 4 the ring finger and ends with 5, our little finger. Look at the pictures below and memorise them:

Finger Chart

Technical aspects to take into account

1. The elbow should be loose at all times
2. The wrist straight/at level with your forearm
3. Thumb relatively curved inwards
4. The hand shouldn’t be rebound on each attack
5. We should keep a certain distance from the keys, this distance is established on the re-setting movement.

Finger movement: Article Related

https://www.piano-composer-teacher-london.co.uk/post/2016/02/12/piano-lessons-resources-finger-movement

https://www.piano-composer-teacher-london.co.uk/post/2015/07/24/escence-of-the-pianistic-execution-according-to-vicente-scaramuzza-ch-1-s-4

https://www.piano-composer-teacher-london.co.uk/post/2015/06/19/escence-of-the-pianistic-execution-according-to-vicente-scaramuzza-ch-1-s-2

http://PIANO LESSONS RESOURCES – FINGER MOVEMENT (piano-composer-teacher-london.co.uk)