LEVEL 4

ALFRED'S BASIC ADULT

FINGER
Exercises
AEROBICS
to Develop the Strength,
Flexibility and Agility of Each Finger
WILLARD A. PALMER MORTON MANUS " AMANDA VICK LETHCO

FOREWORD
Most adults beginning to learn to play the piano find that they feel awkward at the keyboard because of
stirtness in their fingers, hands and wrists. They have trouble with coordination, and they feel they
Could play much better if the muscular agility and flexibility of their hands could somehow be made to
Keep pace with their comprehension. FINGER AEROBICS is carefully planned and developed to help
make this possible.
The word aerobic is generally applied to those exercises designed to condition the heart and lungs by
increasing the intake of oxygen into the body. But the reason this oxygen intake is important to our
well-being is that this oxygen is carried in the blood-stream to all parts of the body. If circulation of the
arms, hands and fingers is not what it should be, this affects the ability for those parts of our body to
function with precision and agility.
Many exercises are designed to fill the lungs with air, and to increase the strength of the larger muscles
of the body, but few exercises focus on bringing agility to the fingers, hands and wrists. Most of our
daily activities serve only to stiffen the fingers and dull their feelings and sensitivity. This includes
using cooking utensils, screwdrivers, hammers, scissors and other small tools, as well as pushing
lawn-mowers and grocery carts, lifting and moving large objects, etc. Adult hands take a beating, and
little is done to care for them beyond an occasional application of skin lotion or a manicure. The
exercises in this book are designed to increase the flow of oxygen to the fingers, and to help develop
the strength, flexibility and agility of each individual finger muscle. They will also help you to play with
relaxed fingers, wrists and arms.
FINGER AEROBICs is coordinated page-by-page with ALFRED'S BASIC ADULT PIANO COURSE,
Lesson Book 1. The student may begin immediately with the Preliminary Exercises on pages 2 through
5, as well as the "TABLE-TOP AEROBICS" on page 48, and proceed after reaching page 12 in the
Lesson Book. Instructions showing when to begin each new exercise appear at the upper right corner
of each page.

Using these exercises daily will insure more rapid progress through all of the books of this course.
Because fingers that are "warmed up" are more responsive, playing is made easier. Youwill be less
likely to play wrong notes, and you will find that all technical challenges will be more easily met
and enjoyed.
NATURAL BREATHING

Some people actually hold their breath when they are playing the piano, particularly if they are having
difficulty with some particular problem. Needless to say, this inhibits circulation of oxygen to the
hands as well as to the brain. Coordination becomes more difficult, and the fingers perform
less efficiently.
One does not draw the stomach muscles IN to inhale naturally when seated at the piano. During
inhalation, the lower abdomen moves OUTWARD a bit. When you exhale, it comes back in. Watch a
baby breathing to get the idea.
It is important to breath easily and naturally as you play.

Copyright MCMLXXXVIII by Alfred Publishing Co., Inc.

All nghts reserved. Printed n USA.
2

Preliminary Exercises
BE KIND TO YOUR HANDS!
No part of the body takes more abusse than the hands, We wear shoes on our feet
against therough surfaces they walk on. Our hands are almost
constantly
tothe rough things we doto them. Gloves are usually worn only to keep the exposed
hands to the
1o
protec\ themand
If you want to keep your hands in playing condition, it is best to wear warm In
heavy objects, as well as when you are working with rough tools, gloves when you are cold elemenweatts her
pruning shears, spades, and even vacuum cleaners.
screwarlvers, pliers,Iflng large,
USE A LITTLE WARM WATER
Before practicing, it is good to soak the hands for a few minutes In
Wrenches,
circulation. Many Concert pianists use very warm water on their hands warm water.
the hands vigorously until they are dry, then hold your arms out with thebefore
and shake out your hands rapidly for a few moments. hands nning Thifromtosplpromot
begidangling es
athy.e Towel
wrist,
DANGLE FROM
WRISTS SHAKE OUT
HANDS

No. 1 a) Holding your arms in playing position, palms downward, clench both
making two fists. Hold while you count "ONE-TWO." hands tightly,
MAKE TIGHT
FISTS PALMS
DOWN

b) SNAP the fingers quickly outward, opening both hands. Do this with great vigor.
Hold this position with allfingers extended. Count "THREE-FOUR."

SNAP PALMS
FINGERS OPEN DOWN

c) Shake out both hands, dangling from the wrists. Count "ONE-TWO-THREE-FOUR."
 3

No. 2 a) hands,
Repeat the beginning of the previous exercise, with PALMS UPWARD. Clench both
making two fists. Hold and count "ONE-TWO."

MAKE TIGHT PALMS

FISTS UP

b) SNAP the fingers outward (palms up), opening both hands.

Hold fingers outward as you count "THREE-FOUR."

SNAP PALMS
FINGERs OPEN UP

c) Turn hands over, palms down, hands dangling from the wrists, and shake out.
Count "ONE-TWO-THREE-FOUR."

No. 3 Combining DEEP-BREATHING with Preliminary Exercise No. 1

Seated at the piano, repeat step a) of Preliminary Exercise No. 1, clenching the fists with palms
downward, while breathing IN (the lower abdomen moves outward). Mentally count "ONE-TWO."
Repeat step b), snapping the fingers outward, expelling the air while mentally counting
"THREE-FOUR."
Repeat step c), shaking out your hands as you inhale, mentally counting "ONE-TWO-THREE-FOUR."
Continue as you exhale, counting "ONE-TWO-THREE-FOUR."
To avoid possible dizziness due to hyperventilation, this exercise should not be repeated more than two
or three times at first.

No. 4 Combining DEEP-BREATHING with Preliminary Exercise No. 2

Follow the procedure described just above, clenching the hands and snapping the fingers outward with
PALMS UP. Turn hands over to shake out from the wrists.
Isometric Exercise
An isometric exercise is one in which one set of muscles is briefly tensed in oppositlon
of muscles, or in opposition to a solid surface. 1o
To prepare for this exercise, press the
hands Now slowly bring the palms another sa
flatly together with all fingers touching, in a fingertips touching, until all apart,
"prayer position.'" in a curved position.
fingers withare

EXERCISE: Keep fingers in the curved position, relaxed.

Now press the 3rd fingers firmly together. Keep the other fingers relaxed.
Do this four times, COUNTING "ONE-TWO-THREE-FOUR."
Do the same with the 2nd fingers, then the 4th fingers, then the thumbs,
and finally with the 5th fingers.
Repeat several times, then shake out your hands vigorously.
Repeat again.

A BeneficialHand Massage
1. Place the back of the left hand in the palm of the right hand, relaxed and flat.
2. With the thumb of the right hand, massage the left hand along the ridge of the fingers and along the
fleshy part of the base of the thumtb. Do not use excessive pressure, or you may bruise the hand
Continue this for about 30 seconds.

3. Reverse hands, massaging the right hand with the left.

4. Shake out the hands vigorously for several seconds.
This exercise should be beneficial to circulation and should make the hands more fiexiole.
 5

Four Good Reasons for Playing with Curved Fingers

1. When the fingers are straight, each When the fingers are curved, each
finger has a different length. finger has, in effect, the same length.

2. Ifyour fingers are straight, the thumb Curved fingers bring the thumb into
cannot be properly used. the correct playing position.

3. Straight fingers will bend at the With cuved fingers, keys respond instantly.
first joint, opposite to the motion You are IN CONTROL when you CURVE!
of the key, delaying key response.

4. Movingover the keys willrequire turning the thumb under the fingers and crossing fingers over
the thumb. Curved fingers provide an "ARCH" that makes this motion possible.

VERY IMPORTANT! Keep fingernails reasonably SHORT. It is impossible to curve fingers properly
with long fingernails.
Five-Finger "Aerobics'" ut

No. 1

No. 2
Ths eecse is a chailenge for he weae ngers -5
These ngers wil be steghene wt a itte prate

5
 7

No. 3

5 5

5 5 1

No. 4
3 2 3 4 5 5 3 2 1 2

2 5

5
8
Use with page 14
Wrist-Lifts (pANGLE &DROP, LOWER &LIFT)
1. DANGLE the right hand over E above
middle C with the forearm HIGH. Let
the hand hang limply from the wrist, DANGLE
with the tip of the 3rd finger a few and
inches above the key. DROP

2. DROP the tip of 3 into the key.

3. LOWER the forearm until the wrist is LOWER

just about level with the tip of the 3rd the
finger. Do this in one continuous forearm
motion as you drop into the key on
the count of "ONE."

4. LIFT the finger off the key by raising

the forearm. The wrist will follow, LIFT
then the fingers. Do this with a relaxed the
motion, on the count of TWO." forearm
Youare now back in starting position
to repeat the exercise.

relaxed and flexible,

These exercises will make your wrists more
tones.
and will help you produce more beautiful

No. 1
LIFT on "FOUR," etc.
DROP on "ONE," LIFT on TWO," DROP on THREE,"

Slowly
RH DROP, LIFT, DROP, LIFT, etc.
3

mf
COUNT: "ONE TWO THREE FOUR," etc.
 9

No. 2
Same exercise, using LEFT HAND on Ebelow Middle C.
Slowly
LH DROP, LIFT, DROP, LIFT, etc.

mf
COUNT: "ONE TWO THREE FOUR," etc.

No. 3
Now try dropping the RH 3rd finger into different keys!
Slowly
3

mf
3 3

No. 4
Nowdrop LH 3 into different keys.
Slowly

ADDING DEEP.BREATHING
Repeat Nos. 1-4 as follows:
a) Take a deep breath as you dangle the hand from the wrist.
b) Exhale slowly, expelling all the air from your lungs, as you DROP into the key.
c) Inhale slowly and deeply as you LIFT the finger off the key.
d) Continue the exercise, repeating steps b) & c).
 10
Use with page 14

Drops & Lifts on Melodic 2nds &3rds

Breathe normally as you play these exercises.

No. 1 Melodic 2nds

In this exercise the hand position changes in each measure.
the
Connect each pair of notes smoothly together, dropping 2 on the first note and lifting 3 off
second note in one relaxed, continuous motion.
& E, etc.
Notice that the RH begins with 2 &3 on C&Dand moves up to 2 &3 on D

Moderately slow
2 2 3

(Continue up the
mf keyboard as far
COUNT:"DROP- LIFT- 3 4," etc. as you wish)

The LH begins with 2 & 3 on G &F and moves down to 2 & 3 on F & E, etc.
mf
3
2
(Continue down the
keyboard as far
as you wish.)

No. 2 Melodic 3rds

The hand position changes in each measure.
Connect each pair of notes smoothly together, dropping 2 on the first note and lifting 4 off the
second note in one relaxed, continuous motion.
to 2& 4 on E&F, etc.
The RH begins with 2 & 4 on C& E and moves up

Moderately slow 2
2 2

(Continue up the
keyboard as far
mf as you wish.)

The LH begins with 2 & 4 on G &E and moves down to 2 & 4 on F & D, etc.

mf
D

2 (Continue down the

keyboard as far
as you wish )
 11
Use with page 15.
Drops &Lifts On Harmonic 2nds &3rds
No. 1 Harmonic 2nds
The hand position changes in each measure.
Drop RH 2 &3 on C & D. Lift off. In the next measure move 2 & 3 up to D & E, etc.

Moderately slow

mf (Continue up the
COUNT:. "DROP. LIFT- 3 4," etc. keyboard as far
as you like.)

Drop LH 3&2 on LHF & G. In the next measure move 3down to E & F, etc.

2
(Continue down the
keyboard as far
as you like.)

No. 2 Harmonic 3rds

The hand position changes in each measure.
Drop RH 2& 4 onC&E. Lift off. In the next measure move 2 &4 up to D &F, etc.

Moderately slow
4

mf (Continue up the
keyboard as far
as you like.)

Drop LH 4 & 2 on E & G. In the next measure move 4& 2 down to D &F, etc.

2
(Continue down the
keyboard as far
as you like.)
 12

Use with page 16

Dropping the Thumb
Because of the shape and the angle of the thumb with relation to the other fingers,
it must drop on its SIDE-TIP.

1 DANGLE with thumb leading. 3. LOWER the forearm. 4. LIFT the forearm.
2. DROP on the SIDE-TIP.

No. 1 2nds Up and Down the Keyboard, Dropping the Thumb

The hand position changes in each measure.
Connect each pair of notes smoothly together,dropping 1on the first key and lifting 2 off the
second key in one relaxed, continuous motion.
The RH begins with 1 & 2 on C & D and moves up to 1 & 2 on D & E, etc.

Slow to Moderately slow

2

mf (Continue up the
keyboard as far
COUNT: "DROP-LIFT - 3 - 4," etc. as you like.)

2 on F & E, etc.
The LH begins with 1& 2 on G & F and moves down to 1 &

2
2 2 (Continue down the
keyboard as far
as you like.)

Thumb
No. 2 Melodic 2nds, 3rds, 4ths & 5ths, Dropping the
This exercise is in C POSITION throughout.

Slow to Moderately slow 1

5
2 3

mf
mf
1 5
3
 13

Use with page 17

No. 3 Harmonic Intervals
This exercise is in CPOSITION throughout.

Slow to Moderately slow

3

COUNT:"DROP-LIFT- 3 4," etc.

No. 4 Five-Finger Workout with 2nds &3rds, Hands Together

This workout is played in PARALLEL MOTION. That is, the notes of the RH and LH
move UPor DOWN together.
Play three times:
1. Soft, keeping fingers close to the keys.
2. Moderately loud, lifting each finger about one inch above the key.
3. Loud, lifting each finger high.

Moderately slow to Moderately fast

5 2 3 5

5 2

4 5

5 2 5

*p-mf-f means play soft the first time, moderately loud the second time, and loud the third time.
14
Use with pages 18 & 19.
Drops & Lifts on CMajor Chords
IMPORTANT: Shape your hands (in the air) to play the correct keys before you begin each exercise.
The fingers and wrists should be relaxed, not stiff.

LH (MIRROR IMAGES) RH

5 3 1 1 3

No. 1 Alternating Hands

Lift hands high (8 to 12 inches above the keyboard).
You may hold the damper pedal down throughout this exercise, if you wish.
Slow to Moderately slow _
1

mf
lcoUNT: "DROP.TWO-LIFT-FOURDROP.TWO-LIFT-FOUR," etc.

No. 2 Alternating Hands, Changing Octaves

Lift hands high.
You may hold the damper pedaldown, if youwish. Both hands
one octave (8 notes)
Slow to Moderately slow higher.
1

nf

Both hands Both hands

two octaves one octave
higher. higher.
1

5 5
 15

Together, Changing Octaves

No. 3 Handswrists
surethe are relaxed, move the hands loosely up and down,
To make before you play.
8 if waving "good-bye,"
DROPinto
each chord with pre-shaped, but relaxed fingers.
high for each rest, and move to the new octave position.
Liftthe hands
down, iff you wish.
You may hold the damper pedal

Both hands Both hands Both hands

one octave two octaves one octave
higher
Slow to Moderately slow higher higher

nf

1
5

No,4 Alternating Hands &Hands Together, Changing Octaves

Play three times:
1. Soft, keeping fingers close to the keys.
2 Moderately loud, lifting each finger about one inch above the key.
3. Loud, lifting each finger high.
You may hold the damper pedal down if you wish.

Moderately slow to Moderately fast Both hands

one octave
higher.
5 3

Pmff

Both hands
two octaves
higher.
16
Use with pages 22 & 23.
Drops & Lifts on G7 Chords
IMPORTANT! Shape your hands (in the air) to play the correct keys before you begin each exercise.
Always keep fingers and wrists relaxed.
LH (MIRROR IMAGES) RH

5 2 1 1 4 5

No. 1 Alternating Hands

Lift hands High.
You may hold the damper pedal down, if you wish.
Slow to Moderately slow

mf
|cOUNT: "DROP.TWO-LIFT-FOUR, DROP-TWO-LIFT-FOUR," etc.

No. 2 Alternating Hands, Changing Octaves

Lift hands high.
You may hold the damper pedal down, if you wish.
Both hands
one octave
Slow to Moderately slow higher.
1

mf

Both hands Both hands

two octaves one octave
higher. higher.

G
 17

No. 3 Hands Together, Changing Octaves

Lift hands high.
hold the damper pedal down, if you wish.
You may

Both hands Both hands Both hands

one octave two octaves one octave
slow higher higher higher
Slow to Moderately 5

mf

No. 4 Five-Finger Workout, Using the Notes of the C &G7 Chords

Play three times:
1. Soft, keeping fingers close to keys.
2. Moderately loud, lifting each finger about one inch above the key.
3. Loud, lifting each finger high.
Do NOT hold the damper pedal down in this exercise!

Moderately slow to Moderately fast

C G7 G7 C
1 5 4

P-nff
5 2 1 2

C C
G7 G7
18

Use with pages 28 & 29

Drops & Liftson F Major Chords

IMPORTANT! Shape your hands (in the air) to play the correct keys before you begin each exercise.
Always keep fingers and wrists relaxed.
LH (MIRROR IMAGES) RH

2 1 1 3 5

No. 1 Alternating Hands

Lift hands high.
You may hold the damper pedal down, if you wish.

Slow to Moderately slow 5

3
1

mf Ht

No. 2 Alternating Hands, Changing Octaves

Lift hands high.
You may hold the damper pedal down, if you wish.
Both hands
one octave
Slow to Moderately slow higher
1

Both hands Both hands

two octaves one octave
higher. higher
 19

No. 3 Hands Together, Changing Octaves

Lifthandshigh.
holdthe damper pedal down, if you wish.
You may

Both hands Both hands Both hands

one octave two octaves one octave
higher
Slow to Moderately slow
higher higher
5 5
3
1
1

No. 4 Five-Finger Workout, Using the Notes of the C, F &G7 Chords

Play the first eight measures three times:
1.2 Soft, keeping fingers close to keys.
Moderately loud, lifting each finger about one inch above the key.
3. Loud, lifting each finger high.
Play the final measure when you finish the third time.
Do NOT hold the damper pedal down in this exercise!

Moderately slow to Moderately fast

C G7
1 5 1 1 3 1

pnff
1 3 1 5

C F G7
20
Use with pages 30 &31

Workouts in G Position
G POSITION
LH -RH

GABCD |GABCD
|12345
54321|

No. 1 Melodic & Harmonic Intervals

DROP into the thumb note, lift off after the second note, then drop into the harmonic intervals.
Play hands separately at first, then together.

Moderately slow

*mf-p

No. 2 Harmonic Waltz

DROP into each harmonic interval. Connect the LH to the first RH interval in each measure.

Moderately slow
2

mf-p means play modera tely loud the first time, and soft the second time.
 21

No.3 Flve-Finger Workout In GPosltlon

hands separrately first, then together. The hands play ldentical fingeringa at all times.
Play

Moderately slow to Moderately fast

No. 4 Moving Up & Down In 3rds &5ths

Wasn the hand SHAPED as you DROP and LIFT on each interval. The hand positlon changes on each
wenal. You need only to read the notes played with the thumb and move the hand up or down.
Play hands separately, then together.
HARMONIC 3rds
Moderately slow to Moderately fast
3

HARMONIC Sths
51 5 5 P

5
22

Use with pages 32 & 33

The Problem of Developing Equal Skills with AIl Fingers

By this time you will realize that some fingers are more difficult to
control than others.
The 5th finger is the smallest and weakest, and requires special
to the others. exercise to develop strength equal
The 4th finger is the least independent finger, and the least agile. It is
the only finger that is bound
to its neighboring fingers by tendons that limit its movement.
The 3rd and 2nd fingers are the most agile fingers. They can
move more easily through a larger arc.
They are the strongest fingers.
The 1st finger (thumb) has its own problems. Its muscles are not
downward arc, but rather to pull the thumb inward, toward the palm.designed to make it easy to strike a
This makes it practical to turn the
thumb under the fingers for playing scales, as you will see later, but in ordinary
strike on the side-tip, and is thus more awkward than the other fingers. playing the thumb must

The following illustration shows the tendons of the left hand, as viewed from
the back of the hand.

The strongest
and most agile

The least independent and

most difficult to control 3
2

The smallest & weakest 5

The most awkward
for downward motion
1

Tendons binding
the 4th finger
to the 5th & 3rd fingers

llustration from "Gray's Anatomy"

NOTE: "Table-Top Aerobics," on page 48, will be beneficial in overcoming some of these problems.
 23
Use with pages 32 &33
ALeschetizky Solution
Leschetizky (1830-1915) was one of the most prestigious teachers of his time. Among his
Theodor
(amous puplls were Paderewski, Gabrilovich and Artur Schnabel. He was a genius at overcoming
lechnical
mos/
problems of each of his individual puplls, and one of his most effectlve exercises was
specifically devised for developing skill and agility with all fingers and overcoming the problems of
playingwell
with the weakest and most awkward fingers.
IMPORTANT! Read Leschetizky's own Instructions carefully before playing:
FOURfingers hold the whole notes down, ONE finger plays the quarter notes.
While
Repeateach
measur many times.
first measure, press down the flve keys together (G FABC, all the keys in G POSITION), then
1.
in the thumb JUST HIGH ENOUGH TO LET THE KEY RISE TO ITS LEVEL, keeping the thumb in
rawith it. Now the thumb presses the key down agaln, holds it a moment, then rises again.
of an inch and striking
ContinueIn the same manner with the 2nd finger, raising It about one-third
2. repeatedly while the other fingers hold their keys.
the key
Proceed similarly with the 3rd finger, keeping the others down.
3. ontinue with the 4th finger, but raise it AS HIGH AS POSSIBLE, So that the hampered
independence.
Ath finger may gain more acquire
Cantinue with the 5th finger, ralsing It also AS HIGH AS POSSIBLE, So that it may
more strength.
times.
Waen fingers CURVEDat all

9 2

45 4
213 5

Follow the same procedure as outlined above when playing with the left hand.

1 1 1 14 2 2 2
5

5 5 5 5
24
Use with pages 36 &37

Workouts With G Major & D7 Chords

No. 1 Building G Major &D7 Chords
LIFT after each three-note slur, then DROP into the chord.
Carefully observe crescendos and diminuendos.

NEW DYNAMIC SIGNS

Moderately slow
CRESCENDO (gradually louder) DIMINUENDO (gradually softer)
to Moderately fast
G G D7
1

5 2

D7 G D7 G D7 G

No. 2 RH Five-Finger Workout With LH Chords

Moderately slow to Moderately fast

P
 25

No.3 LH Five-Finger Workout with RH Chords

Moderately slow to Moderately fast

No, 4 Chord "Cross-Overs,"" with Pedal

MAlice how much sound you can build with the pedal sustaining the chords.
ln the 1st line, play each chord just a little louder than the one before.
In the 2nd line, play each chord a little softer.

Moderately slow
Both hands Both hands
2 octaves higher 2 octaves higher

Both hands
2 octaves higher . LH 2 octaves
higher .