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Verwey, Erik - Research Paper - Forgotten Fingers (2015)

Erik Verwey
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RESEARCH ABSTRACT Name: Erik Verwey Main Subject: Piano, jazz Research Coach: Bert Mooiman Title of Research: ‘Forgotten Fingers, analytic research on fingerings in jazz piano music without frustration of improvisation concepts’ Research Question: In what way can fingerings be useful for playing jazz without frustration of improvisation concepts? Summary of Results: It is irrefutable not to think about fingerings when playing piano. Fingers have to touch the keys to produce sound. Simply said when playing piano, a pianist is applying a fingering. It can be very useful to think more conscious about fingerings in jazz piano music. Anatomically and biomechanically seen, some research has been done on finger strength and positions. Nevertheless, the results are not spectacular. No therapist could be found with a very clear vision on anatomic reasons for certain fingerings. Only some schools that favour more flexing fingers are opposed to the ‘flat finger school’. Indeed, forceful playing requires more flexion. Fast playing might be easier with flatter extended fingers. There is not a very ‘common ground’ among jazz pianists that thinking about fingerings is very important or not. Even though some older style pianists like Art Tatum had made up some theories and techniques on fingerings. All the contemporary pianists that were interviewed for this research had different thoughts on feeling and strength. Most importantly, these elements have the greatest effect on the sound the pianist wants to create. However a fertile ground for learning to play more economically (no unnecessary movements of the hand/fingers) and secure jazz piano can be made by thinking clearly about fingerings. Practising exercises like descending pentatonic runs, lines, thirds, double grips and so forth have proven to be useful to ban unnecessary movements of the hand. To aim for strong fingers on strong notes on strong moments in the bar can be effective to create an economic way of playing. This basis is very practical as material to proceed on. Proceed in a way that improvisation concepts would not be frustrated. In the end every pianist has to create his own favourite fingering for his desired feel and, most importantly, preferred sound. The research results in a collection of pianistic exercises in order to play and think more consciously of fingerings in jazz improvisation music. The presentation will include a look at different fingering theories and a demonstration of exercises. Biography: Erik Verwey (Arnhem, 1987) is a jazz pianist and has (a.o) studied with Bert van den Brink, Peter Beets and Juraj Stanik. He finished his bachelor of music with honours at the Conservatory of Utrecht. In 2015 he will finish his master study at the Royal Conservatory of the Hague. Erik is mainly active as jazz pianist, however a big focus lies o playing in theatre. He composes songs for prize winning Dutch singer/ comedian Louise Korthals with whom he is touring around Holland for three years now.
typeresearch exposition
date01/01/2015
published28/05/2015
last modified28/05/2015
statuslimited publication
share statusprivate
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/137922/137923
published inKC Research Portal
portal issue3. Internal publication
connected toKC Research Portal


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nameVerwey, Erik - Research Paper - Forgotten Fingers
copyrightErik Verwey
licenseAll rights reserved
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