This page © 1997 by Kevin Purrone

D. Otto Ortmann


1. Ortmann, Otto. "The Physiological Mechanics of Piano Technique" New York: E.P. Dutton, Inc., 1962

2. Ingredients of the technique


a. Ortmann performed numerous scientific experiments with a variety of gauges and equipment to measure exactly what is going on with piano technique.

b. Complex descriptions of the total mechanism, including use of the fingers, hands, wrists, forearm, arm, shoulder, are included in his research.


3. Technical Methods of Performing


a. Staccato


1. The up stroke is the focus of attention
2. Three types


a. Finger Staccato


1. The shortest possible note on the piano is 2-3 fiftieths of a second, so don't bother trying to play a shorter note

2. Light staccato works best with flatter fingers


b. Hand Staccato


1. Hold the arm stationary
2. Hold the hand above the keys by its dorsal muscles
3. Relax the hand and flex the volar flexors [the WHAT?]
4. The hand descends
5. After impact, move the hand to original position.
6. No finger action


c. Arm Staccato


1. Keep the wrist rigid [ouch!]
2. Allow gravity to work, relax the shoulder muscles and throw the forearm and sometimes the whole arm against the keys
3. Contract the arm muscles to release the key


b. Tenuto


1. Drop the arm and then lift it while playing each note
2. There is a partial relaxation of the arm at the right moment


c. Legato


1. The down stroke is the focus of attention
2. The finger-tip remains in contact with the piano key
3. The touch is comparable to a controlled arm-drop
4. The lift of the hand must cease before the finger releases the key


d. Chords


1. An uncontrolled arm drop is useless
2. A modified or controlled arm drop is useful
3. Upon approaching the keyboard, draw back the fingers that are not playing and curve the fingers that are playing
4. Let the wrist descend below the keyboard, breaking the fall of the arm, and reducing percussive effects


e. Voicing


1. Differences in finger speed produce different volumes
2. Play the melody tone with more velocity
3. Play the melody tone slightly ahead of the other notes
4. Alternative: contract more strongly the muscles in the finger which plays the melody note
5. If the knuckle of the melody finger is rigid, the energy of the arm will transfer through the rigid knuckle to the melody note [WARNING: may cause tension. Try method 3 for best results]


f. Hand and Arm Movements


1. Economy and coordination of movement are ideal
2. Perform rapid movements and movements of a small range with the smaller muscles and joints
3. Perform powerful movements and movements of a wide range with the larger muscles and joints


g. Touch


1. Several terms are used


a. Finger Stroke
b. Finger Lift
c. Finger Movement
d. Finger Sequence


2. Two basic touches


1. Percussive


a. Finger plays from above the key


2. Non-percussive


b. Finger plays from on the key


3. Lifted fingers are good for loud tones but not for soft tones
4. Extreme finger lift causes stiffness [AVOID]
5. "Movement is most free when the joints involved move near the middle of their ranges"


h. Tone Control


1. Affected by arm weight and muscular strength
2. Four common touches


a. Gradual varying increase in pressure as key is depressed, then a gradual release in pressure as the key ascends with weak intensity
b. Percussive touch with sudden application of force with a gradual release
c. Gradual increase in pressure, slow key speed, maintenance of pressure with moderate intensity
d. Percussive touch, with extremely short duration and great intensity

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