Dynamics

A clear imagination of loud sound is essential for producing a healthy forte at the instrument.

If the imagined dynamic is not truly strong, the physical motions described later—such as lifting the fingers or preparing the hand—will not feel natural. Instead, you may introduce unnecessary tension in the wrist and hand.

To check whether your imagined sound is loud enough, try the following:

Imagine an interval with a fully saturated texture—ff—while transferring arm weight, and begin singing the imagined sound.

If your singing does not feel as full or powerful as the example in the video, then your internal forte may in fact be closer to mezzo-piano. In that case, take time to gradually expand your dynamic imagination and allow the sound to grow.

Remind yourself that losing the sense of horizontal sound movement in your imagination often leads to a vertical, harsh, or percussive touch.

Developing a strong link between your inner sound and your physical touch requires patience. With consistent practice, the hands will slowly adapt to what you imagine, responding with greater ease and clarity.

When playing fortissimo at a very slow tempo (around two seconds per note), using double rolls and double swings is often necessary.

When playing slightly faster, the second roll in a double roll often becomes slightly narrower and more elliptical.

Eventually, with sufficient repetition, you will be able to play using only a single roll, supported by the muscle memory developed in the earlier stages, and the motion will remain free of tension.

It is also important to open the hand—lifting the fingers—before playing the next note.

This prevents the accumulation of tension and allows the motion to reflect the full dynamic of your imagined f. It also serves as a valuable strengthening exercise for the finger and palm muscles.

Lifting the fingers should feel like a quick, healthy stretch that begins in the palm, not as something isolated from the rest of the hand. The pattern is simple: begin with a relaxed, closed hand, open it rapidly into a stretch, and return to a relaxed position.

Double rolls

• Release tension with the first, smaller roll.
• As you reach the top of the second, larger roll, open the hand.
• Play the next note at the bottom of this second roll.

Double swings

• Open the hand at the top of the first swing.
• Play the note at the bottom of the second swing.

In both double rolls and double swings, it is useful to count: "1" and "2" as you play the note, and "&" as you open the hand with the help of the wrist motion.

The opening of the hand should be quick, not gradual—this keeps the motion free, powerful, and aligned with the imagined ff.

When lifting the fingers, raise them straight upward rather than curving them. Curving immediately increases wrist tension.

Begin lifting the fingers only as you approach 6 o’clock of the first "roll or swing", reaching full opening at 12 o’clock of the second "roll or swing".

If the fingers are lifted too early or too late—the hand will tense and the motion will lose its natural freedom.

Remember that lifting your fingers is only required in slow tempos.

After each note, allow the hand to release completely. It should feel empty, light, and unengaged. This prevents unnecessary pressure from accumulating in the palm or wrist, which may otherwise lead to discomfort or pain on the underside of the wrist. A fully relaxed hand will also open more naturally and with greater amplitude. If the hand is not sufficiently relaxed, lifting the fingers will feel strained, and weak.

Adequate amplitude in the arm motion is essential when transferring weight before playing. Lift the elbows higher as you lean slightly backward, and allow them to descend as you return forward. This ensures that the imagined power of the sound—together with the arm weight—is transmitted freely to the keyboard.

If the arm motion is too small, the result will be a harsh tone and potential discomfort in the underside of the wrist.

In forte exercises, play the note on the downbeat (1), then lift the finger—opening the hand—on the upbeat (&).

Let the elbow move freely with every note, and lean the torso forward by approximately 30°. This slight forward inclination allows gravity to assist the arm weight, helping to avoid a harsh tone or aggressive key attack.

Keep the following in mind:

• The stronger your sound imagination, the larger your wrist movement should be. The physical motion reflects the scale and resonance of the imagined sound.
• Fortissimo often reflects emotional residues of old tension patterns.

Many pianists were told to "play louder, but not harshly," an instruction that easily creates confusion and tension. Over time, this can lead to a subconscious habit of holding excess stiffness when playing forte, causing the wrist motion to become restricted or rigid.

This reaction is understandable and takes time to retrain. Be patient as you build new internal sensations and associations for forte. For now, gently remind yourself that your hands remain light, empty, weak, and free—even in the strongest dynamic.

Paradoxically, a real, resonant forte does not come from muscular effort. It arises from sound imagination, intonation, and the natural transfer of arm weight.

If you still feel limited or not entirely free, Volume III will explore how posture and the correct energetic state support healthy forte playing. Once these elements are integrated, the experience of playing forte becomes both powerful and effortless — permanently.