Articles

THE ARM-WEIGHT METHOD

The emergence of the Arm-weight Method created a revolutionary change to piano-playing. The
training of piano technique experienced a crucial break through. It enriched and broadened the
expressiveness of music and brought the glamour and charm of the piano into full play.
Evidently, the Arm-Weight Method is the participation of the entire body, mind, arms and fingers in
playing.
What we need to discuss is: how to correctly and effectively implement the Arm-Weight Method. We
will elaborate in two respects: the unblocked state and the balance.
I): The Unblocked State
First of all, we must achieve the unblocked state. The energy should go all the way to the fingertips. In
the meantime, our mind should also be in direct control of the fingertips in playing. Only in this way
can we play with high quality.
The line of demarcation between the Arm-Weight Method and the Exclusive Finger Method is
whether a pianist plays in an unblocked state or in a blocked state. The Finger Method believes that
the involvement of the arm weight hinders the independence and agility of the fingers. But the ArmWeight Method considers that only when the arms are involved can the fingers be truly independent
and agile, the playing full of vitality and the training fully develop. This unblocked state is the
prerequisite and the foundation of scientific playing.
Let us do a simple exercise: sit up straight on the piano bench and put the hands on the lap. Now, the
weight of the arms comes through the wrists and is resting on the lap without any tension. The arms are
in their most natural condition. When we lift the wrists lightly, the weight of the arms would move to
the fingertips. This is the unblocked state. If the weight of the arms is moved backward to the elbows,
it becomes the Finger Method, which is in a blocked state.
The weight of the arms goes all the way to the bottom of the key bed from the shoulders. We need ten
strong fingers to support the weight. We cannot just concentrate on the weight of the arms coming
down vertically from top to bottom; we also need to realize there is the capability of the fingers to
support from the bottom to the top. One might not expect that only using the first joint of the finger to
grip the key, the finger would immediately be firm; the weight of the arm would comfortably go to the
bottom of the key through the finger. But this is actually the genuine unblocked state.
When the fingertip grips the key, the arm weight would rest on the fingertip. The fingertip feels
intimately connected to the key and the attention of the pianist is naturally brought to the fingertip. The
fingertip is under the direct control of the brain and becomes very obedient, easy to command, and one
can play with more assurance, precision and can express the music with facility.
There are many advantages when the fingers grip the keys. For example: to play the piano with
evenness and with unified tone quality is very important. Although our fingers are not of the same
length, once they grip the keys, each finger is able to support the same weight and produce even sounds
with the others. There is no necessity to humanly enhance the strength of the little (pinky) finger, so it
can be as strong as the middle finger. Therefore, training time is much shortened when the fingers grip
the keys.

The Finger Method focuses the attention on the palm knuckles. The Arm-Weight Method is different.
When fingertips grip the keys, the attention is moved to the front and focused on the fingertips. Playing
becomes more at ease, more direct, simpler and more energy-saving.
Consequently, pianists play at a much faster speed (when it called for) than previously; the dynamics is
greater, using minimum effort to achieve maximum effect.
To truly achieve the unblocked state, the natural weight of the arm and the first joints of the fingers
gripping the keys must co-ordinate and integrate.
2): The Balanced State
Balance is very significant to an athlete. If an athlete loses his balance, he would be unable to give full
play to his skills and might even fall down. A professional pianist needs to possess advanced technique,
balance is most crucial to him. Only with balance as foundation, can a rational state of playing be
attained and the potential of the skills be reached.
Balance indicates the equilibrium or balance between the weight of the arms and the capability to
support it by the fingers.
We need to establish a concept: when the arm hangs down from the shoulder, it is not heavy. This is the
natural weight of the arm. When the first joint of a finger grips the key, the finger is sturdy and is
capable to support weight. So when the fingers grip the keys, they can support the natural weight of the
arms, including the little (pinky) finger. This is the balance in piano playing. When one has reached
this natural balance, the unblocked state is achieved and the Arm-Weight Method is being verified.
This balance is so very important to pianists; it allows us to bring the function of the hands into full
play, without any obstruction, and to train our technique effectively. Never neglect this balance or
equilibrium. It is the foundation of piano playing; the most essential of the fundamental.
Unfortunately, some of our students have lost or have not established this balance or equilibrium. The
unbalanced state is quite widespread. Here are two examples of the incorrect playing:
a) To push and to press
Piano teachers often come across students who forcefully push down to the key bed without
considering whether their fingers could support such a huge force. They have lost their balance. To
push and to press is not using ones natural arm-weight at all. It overwhelmingly exceeds the fingers
ability to support such weight, making the hands and muscles very tense. Training cannot be done
under this blocked and stiff condition. This incorrect way of pushing and pressing exists extensively. It
is like asking a child to carry an one hundred pound load. He would lose his ability to move.
b) To only stress the relaxation of the arms but neglect the support of the fingers
These pianists cannot achieve the balanced state, because they do not realize that gripping the keys
makes their fingers sturdy so that their arm-weight can go through to the key bed. When they do not
grip the keys, their fingers can never become sturdy, their arms will never be truly relaxed, and they
cannot achieve a more advanced level of playing. The sound they project is usually gentle and fluent
but with little dynamic range; contrasts are small and without sonority, brilliance or vitality. Their
repertoire is limited. If they play pieces which require big dynamic ranges and multiple varieties of
changes, they would have to resort to pushing and pressing, which could cause injury to the muscles of
their hands.
We rely on our fingers to do everything when we play the piano. A pianist needs ten strong and sturdy
fingers to perform difficult repertoire. As the fingers capability to support gradually strengthens, the
level of technical prowess is elevated. This is to say, without strong fingers, the technique would stay at

a lower level. We should not be satisfied with our fingers just being able to support our arm-weight; we
need to continue to strengthen our fingers ability to support more weight, even to hold up the entire
weight of the body! In the training process, we must advance step by step, in an orderly manner,
gradually from weak to strong, and always maintaining the flexibility to the fingers. We must firmly
abide by the principle of the unblocked state and balanced state. Or in other words, only when a
pianist trains in an unblocked state and balanced state, his fingers will become sturdy and strong,
making stride in technical improvement. The two incorrect ways of playing mentioned above are both
examples of the loss of balance and cannot reach advanced level of piano performance.
We continuously stress balance because it is so important to piano playing. Balance needs to
beregulated.We must pay attention to whether the weight of the arms goes directly to the fingertips
without any obstruction in the elbows and/or the wrists. In the meantime, we should also be mindful of
the ten fingers ability to support weight. Balance from the top to the bottom and from the bottom to the
top will ensure that the hands are in the maximum possible state of relaxation. We all know that playing
the piano requires a fair amount of tension from the muscles of the hands, especially tackling difficult
pieces. Therefore, we must constantly adjust the balance to buffer the tension, to eliminate any
obstruction during playing, bring potential technical ability into full play so that our fingers can freely
express the feelings in our hearts.
To be adept at constantly adjusting the balance between the arms and the fingers is a responsibility a
piano teacher must shoulder and cannot disregard. A students starting point and foundation must be
established on a scientific method so that he will always play in a naturally balanced state. This will
have a decisive affect on the quality of his playing and his future as a pianist.
Three suggestions calling for our attention:
a) Grip the keys with the first joints of the fingers:
We have already discussed this matter at length and will not repeat here. The reminder is: the purpose
of this gripping of keys is to make the first joints strong and sturdy; the arm-weight will go directly to
the bottom of the key bed. But if one uses excess effort to grip the keys, it would make the palms and
wrists tense and rigid and the purpose of gripping the keys is lost. Therefore, if a pianist can use
appropriate effort to grip keys and experience an unblocked and balanced state while playing, he has
attained the goal.
b) About the wrists:
The wrists are important in playing; they cooperate with the fingers. The fingers are the front line; the
arms, elbows and wrists are the fingers logistic support. When the soldiers on the frontline lose the
support and cooperation of their logistic support and lack ammunition, the battle cannot win. The wrist
is the passageway and the juncture where the arm-weight passes through and is the closest to the
fingers. The use of the wrists directly affects the ability and quality of playing. It controls the force and
the speed to go down the keys. More importantly, the wrist helps the hand and each finger to find its
best position in playing. There is a variety of musical figures in the repertoires. There are different
intervals, and therefore there are different distances between the keys to reach for. Consequently the
wrists must adjust continuously and at all times. Only when the most appropriate position and angle is
found, can the weight of the arms go through comfortably to the key bed, and can the arms coordinate
effectively with the fingers. The wrists should always be agile and elastic in order to suit the different
types and styles of repertoires, giving vitally to the playing and performance.
But unfortunately, many piano students do not realize the logistic role of the wrists as the rear-service
to the hands and fingers. Their wrists do not help and participate in their playing, and become
obstacles. For instance, some use the wrist to produce force, using the wrists to push and press the keys,

causing tension and rigidity to the muscles of the entire arms. This violates the principle of the
unblocked and balanced state.
To let the wrists play the role of cooperation and regulation, to feel while playing that one has no
wrists, the wrists will automatically cooperate with ease. This is because one has a natural
coordination in physical movement.
c) Fingers keep close to the keys and go down slowly:
How should a teacher teach pianists who do not really have the technical ability to play or those who
play with incorrect technique?
Suggestion: Fingertips keep close to the keys so the pianist has a feel of security; go down the depth of
the keys slowly to sense the relaxation of the mind and the muscles with ease. Let him comprehend the
technique of playing the piano and its training is within his reach. Without lifting the fingers from the
keys, use the wrists to go up and down the keys lightly to put the weight of the arms accurately and
quietly through the fingertips down to the key beds. Meantime, fingertips grip the keys lightly. This is
to implement the principle of the unblocked state and the balanced state from the very beginning. The
pianists or students will realize through experience that it is easy and comfortable to play the piano. In
this way they will gradually have confidence and security in playing; calmly, they will feel their
fingers ability to support their arm-weight and the depth of the keys from the surface to the bottom of
the key bed; and their ear will be able to distinguish good tonality from bad. Keeping fingers close to
the keys can prevent knocking down from above; going down slowly can prevent pushing and pressing.
This method can be used to train single notes, thirds, sixths, octaves and chords.etc. As the fingers
become strong and sturdy, a variety of exercises can be used. But, one principle must be kept in mind:
never let the muscles of the hands feel pain or be hurt; never lose the balanced state; train and advance
step by step on the condition that the fingers are able to support the weight.
Some pianists and teachers believe one must feel the weight of their arms by lifting them from way
above the keys and without any control (totally relaxed), drop to the keys fast. The combination of
speed plus weight produces such huge force that fingers cannot support. This method cannot be
effective at all, since the balanced state is lost. Speed plus weight is already not the natural weight of
the arms.
Although this article has discussed the Arm-weight Method at length, it might still seem confusing to
some. Actually the method is very easy to implement; everyone can achieve it in a short period of time,
without any exceptional training, since everybody can relax their arms and grip the keys since these are
ones natural ability. Our task is to adjustand to practice in a balanced state.
The Arm-weight Method is an important point of departure on the path of correct piano playing.
Technical training must be on the foundation of the Arm-weight Method. Only then can technique
advance smoothly and high quality of technical ability be attained.