This is what Chopin said about YOUR fingers...

Chopin mastered the art of good fingering. And here's what he said about our fingers. In Chopin's sketch for a method, he wrote against the idea of training the fingers to be all equally powerful. As each finger is differently formed, it's evident that we shouldn't try better not to attempt to destroy the particular charm of each one's touch but on the contrary to develop it. Each finger's power is determined by its shape. The thumb has the most power, being the broadest, shortest, and freest; the fifth finger as the other extremity of the hand; the third as the middle and the pivot; then the second [a few words illegible], and then the fourth, the weakest one, the Siamese twin of the third, bound to it by a common ligament, and which people insist on trying to separate - which is impossible and, fortunately, unnecessary. As many sounds as there are fingers - everything is a matter of knowing how to use the fingers/deleted good fingering. Hummel was the most knowledgeable [?] on this subject. Fingering, by these principles, isn't difficult/deleted. Just as we need to use the rest of the hand, we need no less to use the rest of the fingers, the conformation of the fingers, we need no less to use the rest of the forearm and the arm. - One cannot try to play everything from the wrist, as Kalkbrenner claims. Cadences, trills: The art that manifests itself through sounds is called music. The art of expressing one's thoughts through sounds. The art of handling [manier] sounds. Thought expressed through sounds. The expression of our perceptions through sounds. The manifestation of our feelings through sounds. The indefinite (indeterminate) language [parole] of men is sound. Word is born of sound. So how can you apply this concept to improve your own playing? Let me give you an example. In the intro to Grieg's Piano Concerto, there's this arpeggio in the bottom for the left hand. And this bottom A needs power. Now it makes sense to just play this with finger 5, but it may not feel great jamming the pinky in to try to make it as loud as possible. What happens if I use finger 3 and then combine it with using finger 1 as a support? The thumb and third finger create a circle shape and this is physically indestructible because the fingers are stacking their bone structures together. So I can drop this easily with power without forcing anything. This is just one great example of the intersection between technique and musicality, how one directly influences the other and allows you to play with more intention and artistry. So if this sounds right up your alley, make sure to drop me a follow so you can play the piano like a pro!