It is safe to assume many pianists can experience the more visible forearm rotations in obvious things like Alberti bass patterns and trills (especially when played from the thumb to the 3rd finger). The tiny rotations involved in passagework, jumps, etc. are far less obvious and building these in generally takes concentrated practice over time. There is a lot of theory, some of which is counterintuitive at the start.
The first stages involve experiencing the hand, wrist and forearm as one unit. Begin by dropping this unit into the keyboard, balancing on the finger you decide to land on. Having landed, check that the other fingers remain loose and free in contact with the keyboard, the hand closed, and the fingers curved (but not curled). Thereafter, drop into thumb and 5th finger together. Again, check that the middle fingers do not curl up.
Graham Fitch, based in London, maintains an international career not only as a pianist, but also as a teacher, adjudicator, examiner, lecturer, writer and commentator on piano playing and musical subjects.
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