Natural Laws in piano technic

Contents

OO TIERS te 2a EE cago oe ae ge Bae

Soy toe MUSCLES =... -. Rushers artes eis donee, T enerets ten as Lifting and enc pradaeiie Res. "Oppeite Muscles. The Flexors. Extensors. Biceps. Triceps. Rotatory. Abductor and Adductor Muscles.

eee REAM OSEEION © 3-55). +. 0's SR oe OE si0 eye prc rete eee eee eee Muscular Study. Experimental Exercises. Anatomical Reasons. Position at the Keyboard. Power. Finger Position and Action. Forearm Support and Weight. Weeping Sinews.

Introduction

It has been argued that it not only is unnecessary but inadvisable to make a study of the anatomy of the hand, of the muscles used in piano playing, and their various actions; that the mind should be upon the effect to be produced, upon tone _production and _ interpretation and not upon mechanical actions.

It is, however, the experience of the author that every pupil can be most easily reached by knowiag the reasons for everything. By teaching cause and effect, the pupil learns to deduce his own rules or laws. He works more intelligently and therefore more directly, with least possible loss of time. Also when an appeal is made to the reason, he is more interested to obtain accurate results by realizing the necessity of observing unchanging governing laws. When the impression is thus deeply made, it is most easily retained by the memory. In the first stages of technical development, when position, condition, and actions are being established, there is no opportunity for interpretation. A student cannot learn to paint until he learns how to mix his colors. One thing must be studied at atime. The first step in the beginning of technical study must be to obtain conscious control and development of the hand. If correct and intelligent methods are used from the first, there will be no mechanical or muscular distraction when the subject of interpretation is reached. The hands and arms will be under such conscious control that any desired effect will be quickly and accurately xi xii INTRODUCTION.

produced without conscious effort. In this way, effects are obtained through intelligent conception of the effect desired.

In the proper study of muscular conditions and actions, constant appeal is made to the ear, the end and aim of every exercise being the quality of tone to be produced. For this reason, if for no other, the piano should be used for the immediate application of each exercise as soon as it is correctly understood and accurately done. The desire to obtain certain tonal results 1s the only reason whatever for a study of action, condition and development of the muscles. This principle must be kept constantly before the pupil, who, when his reasoning and discriminating powers are once awakened, makes constant and enthusiastic progress.

If there seems to be much repetition of principles, it is because many students find it difficult to keep the whole subject previously studied clearly in mind while adding a new principle, and they are consequently liable to obtain a distorted conception of the vital principles.

In order to aid young teachers and earnest students to a clear conception of the technical materials of pianoforte study no effort has been spared to make the subject-matter unmistakably clear at all times.

It is, at the best, a most difficult and unsatisfactory matter to endeavor to guide the inexperienced student and young teacher, no matter how earnest, by means of written explanations. If the old adage that ‘“‘actions speak louder than words”? is not entirely true, yet illustrated actions, personal supervision, and criticism of the results obtained from following the written or spoken word are not only highly desirable but also invaluable. Therefore, the first object in writing the following treatise on Technic was not so much for those who have never thought or worked along these lines, but rather principally to give my own pupils, in a permanent form, a definite guide which should recall clearly to them the beginnings of their study, that they might the more surely take their own first steps in the development of those whom they in turn were to teach. It was

INTRODUCTION. Xiu hoped to make this so clear, simple, and logical, that they might be able to safely and advantageously follow its instructions, and also that it might stimulate in them the power of logical thinking, thus enabling them to continue in independent research rather than slavish imitation. In my own efforts in this direction I am largely indebted to my beloved and highly revered teacher, the late Oscar Raif, through whose keen perception, logical and scientific reasoning, and high and beautiful ideals, the understanding of scientific teaching and the realization of truth in art became indelibly impressed upon my own consciousness.

I am also indebted to the kind interest and helpful criticism of Dr. Frederic P. Lord, instructor in the College of Medicine and Surgery and Lecturer on Anatomy, at the State University of Iowa. The illustrations are from photographs made especially for the book by Miss Florence Hendershot of Chicago.

NATURAL LAWS IN PIANO TECHNIC.

I. THE MUSCLES.

The muscles form such an important part of the subject of piano technic, that careful study of the anatomy of the hand and arm is necessary in order to obtain a clear comprehension of the following treatise.

The members of the body are nearly all called into action in piano playing, and in order to obtain the highest results the muscles of the entire body must be well developed. This is best done, not by means of any apparatus, but by simple physical culture exercises. Among the most important muscles are those of the shoulder and back, which have to hold the body erect through hours of practice, and of the chest and lungs, which have to supply the body with oxygen to enable it to do its work. Deep breathing and swimming exercises are of the greatest value. This book, however, is not a treatise on physical culture, but deals especially with those members and muscles which are used directly and under complicated conditions in piano playing. These members consist of the upper arm, the forearm, the hand, and the fingers. They are a framework of bones connected to each other by ligaments and moving at the connecting points in socket grooves called joints.

The arm is hung at the shoulder in a ball-and-socket joint, which allows it to move round in all directions. The elbow joint is single, while the wrist, and in many hands the knuckles, have double joints.

These members are moved at these joints by muscles which are located always in the member above the one to be moved and attached by tendons to the latter. When a muscle contracts it becomes thicker and shorter, and therefore draws the member to which it is attached towards the one where it is located. Thus the large muscle in the upper arm, commonly called the biceps on account of its two-pronged shape, is attached to the forearm at its upper end by tendons, and in contracting draws the forearm up towards the upper arm. This is called flexion. On the back of the arm is another large muscle, called the triceps from its three-pronged shape. This muscle is also attached to the forearm on the opposite side or just below the elbow. By contraction of this muscle the forearm is drawn out to a straight line with the upper arm, or extended. The biceps is therefore called a flexor muscle, the triceps an extensor, and they act in opposition to each other.

In the forearm (back) are located the extensors, which lift the hand back from the wrist, and the flexors underneath, which draw the hand in from the wrist, and also those which draw the hand in and out from the wrist laterally. By a contraction of these muscles in rotation the hand is made to move in a circle from the wrist, or rotate.

Two other muscles are attached at one end to the ulna, a stationary bone in the forearm, and at the other to the radius, which moves around the ulna, its companion, and their contraction moves the forearm and hand in a rotating or rocking motion.

In the forearm also are located the muscles which move the fingers at each joint. To these muscles, which are located in the upper part of the forearm, are attached slender tendons, which pass under and over the wrist bones, where they are held in place by a ligament like a wristband, and through the palm and back of the hand into the tips of the fingers. Those which draw the fingers toward the palm are flexors; those which straighten the fingers, or lift them above the hand, are called extensors. By contraction of the flexor located in the forearm the finger may be made to start at the tip, moving to the palm of the hand, closing the hand by bending at each joint, and by continuing the contraction of the same muscle the hand made to bend in at the wrist.

A set of muscles are located in the hand and attached to the fingers, one of which sets separates the fingers from each other, and are called the abductors; and the other set draws them together and are called the adductors. The flexor and extensor thumb muscles, which draw the thumb under the hand and out respectively, and the abductors and adductors, which lift the thumb to a level with the hand and draw it down away from the hand, are also located in the hand.

In the shoulder is a muscle which lifts the shoulder and with it the arm. This is often unnecessarily contracted. It has no duty to perform in piano playing, and its contraction causes unnecessary fatigue.

The muscle in the shoulder, however, which draws the arm out from the body, and the muscles across the chest and back, which draw the arm across the body and back into position and down to the side, are all used constantly in piano playing.

From the foregoing it will be seen that the opposing muscles may be divided into sets:

1. Flexors and extensors; 2. Abductors and adductors; 3. Rotatory muscles; or for their use in piano playing may be classified as follows:

a. Lifting muscles, which raise the members into playing position. These are all extensors, except the biceps and the muscle which ‘draws the thumb under the hand, which are flexors.

b. Playing or tone-producing muscles. These are all flexors except the triceps, which is an extensor, and the thumb extensor, which is the tone-producing muscle when the thumb lies under the hand.

c. Muscles of expansion, which separate the fingers, called abductors, and the adductors, which draw them together, which are used in everything but five-finger position; and rotatory muscles, which rock the hand with the forearm from the elbow.

All anatomical terms have been purposely avoided, as it seems unnecessary to use them, but should any one desire to make a more complete study of the subject, reference may be made to Gray’s Anatomy.

II. HAND POSITION.

In all art, the natural is superior to the artificial.

Muscular Study. — The mechanism of piano playing has been analyzed, and numberless exercises have been invented for obtaining facility. The results, sometimes beneficial, are often, on the other hand, inartistic; but the root of the matter has not been reached.

Muscular study has not been thoroughly treated. Intelligent understanding of the muscles which control all movements gives not only conscious control but also freedom of motion.

Experimental Exercises. —A few experimental exercises will serve to demonstrate the superiority of one hand position over another.

a. Raise the forearm from the elbow and drop the hand in a relaxed condition from the wrist. (Fig. 1.) Shut the hand suddenly with an intense grip. Notice how easily and naturally the hand rises from the wrist. (Fig. 2.)

b. Drop the hand again as at a, and shut it again quickly, but without allowing it to rise from its hanging position. (Fig. 3.) A feeling of tension and strain is felt on the back of the wrist, and the grip loses much of its intensity.

c. Once more raise the forearm and hand, but with the hand on a level with the forearm, repeat the grip without allowing the hand to rise from the wrist. (Fig. 4.) This is easier than b, but more, difficult than a. ;

d. Rest the elbow on the table. Throw the hand back from the

wrist but with fingers partially extended. (Fig. 5.) Flex each finger separately, endeavoring to obtain the same vigorous muscular action as when shutting the whole hand. (Fig. 6.) 5 e. Take the position illustrated in Fig. 1 and repeat the flexion of each separate finger. (Fig. 7.)

f. Take the position illustrated in Fig. 4, but with the fingers extended, and again flex each finger separately. (Fig. 8.)

g. Lay the forearm on the table and repeat as at d.

If properly done, these exercises will prove how greatly superior is the natural strength of the hand when raised from the wrist, or when at the keyboard, with a lowered wrist. The individual power of each finger is much increased.

The gain to. hands lacking in flexibility is enormous. The weak and unmanageable fourth finger, which in many cases cannot rise above the level of the hand, has, by its elevated position, an equal chance with the other fingers. It needs only the development of its flexor muscles to make it strong and independent. The thumb, also from its close position, gains in speed and lightness.

Anatomical Reasons. — The flexor muscles, used in the finger stroke, pass through the hand and forearm to the elbow, where they are fastened to the bones near the elbow. In raising the hand from the wrist, these muscles are stretched to their utmost. ‘Thus they are enabled to obtain their greatest possible contraction. If less or not at all outstretched as at 6 and c, the possible contraction is decreased.

Position at Keyboard. — If the hand is raised from the wrist, so as to obtain all possible contraction of the muscles, the forearm, and therefore the wrist, will of necessity be below the keyboard, If the forearm is too high, the finger either does not reach the key, no matter how intense the contraction, or else barely reaches it, its force having been expended while still in the air.

Power. — Therefore to obtain the most powerful tonc, the wrist must be low enough to barely allow room for the thumb to pass between the hand and the keys. This extreme position is necessary only where the greatest contraction is desired, not only to develop a full, resonant tone, but also to develop endurance in the muscles.

8 NATURAL LAWS IN PLANO TECHNIC.

Finger Position and Action. — The finger tip should point vertically downward with the second joint the highest point and the first’ phalanx about on a line with the hand. The hinge on which the finger moves is the first joint, the tone being produced by the contraction of the finger flexors or playing muscles, while the extensor or lifting muscles bring the finger back to playing position. In rapid work there is less time to raise the fingers, therefore the closer must the fingers be to the keys.

Forearm Support and Weight. — Support of the forearm is obtained by sufficient contraction of the biceps to carry the forearm lightly over the keyboard while the forearm muscles remain relaxed. This

_gives a free, flexible wrist and so-called ligh arm for soft or rapid playing.

Forearm weight is produced by relaxation of all the forearm muscles. ‘The weight of the forearm is thus supported by the finger tip. This should not cause arm motion in playing. While the forearm is steadily supported by the finger which is being used, the next finger drops freely from its joint and receives the weight of the forearm as the other rises. This produces a full, rich, sonorous tone, without the sharpness or harshness which comes from a stroke. It is used in all touches of whatever dynamic quality, when depth and resonance of tone are desired, even though the tone be very soft and the passage rapid. For utmost velocity, however, a light arm is necessary.

Until the proper finger action is obtained, the forearm should rest on the table, the arm muscles being relaxed.

Weeping sinews, the bane of so many piano students, are often caused by an unnatural position of the hands. They rarely occur where the muscles are strong, but rather in weak muscles struggling after strength. Such intense strain is brought to bear upon the extensor muscles, that these strained tendons or weeping sinews result, causing much annoyance and pain. If the hand, however, is held in a normal position, as above described, it will be impossible to cause this condition, as there is no strain in any part. Where, by faulty practice, or by some sudden twist away from the piano, weeping sinews have appeared, the hand may be gradually strengthened, and the troublesome lump will finally disappear altogether, if the system is at the same time built up and strengthened. In the meantime, the practice, if rightly done, may be continued with impunity.

III. HAND CONDITION.

Struggling hours of patient but oftentimes discouraging practice are spent in the effort to acquire surety and fluency, together with breadth of tone without stiffness of muscles. ‘‘ Relax the wrists,” is the constant cry. Yes, but how? For most pupils, it is like a Chinese puzzle to be told to get the weight in the end of the fingers by upper-arm effort or muscular contraction.

By thoroughly understanding the various muscles of the hand and arm, much of the difficulty is overcome. Each member of the body has its opposing sets of muscles (see The Muscles, chap. 1) for flexion, extension, and rotation. The contraction of the flexor muscles moves the member in exactly the opposite direction from the extensor muscles.

Stiffness. — There can be no stiffness of any member of the body without contraction of the opposing muscles. Should two boys pull on a rope at the same time in opposite directions with the same degree of force, there would be no motion; that is, stiffness or rigidity would be the result. The strength expenditure would be wasted. If again one suddenly relaxed as the other commenced to pull, the sudden motion resulting would depend in force entirely upon the amount of effort expended. This is also true of the contraction of opposing muscles of any member of the body. If both are equally contracted at the same time stiff or rigid conditions are the result.

The Stroke. — The relaxation of one muscle with contraction of the opposing muscle is the principle of the stroke. In lifting the finger to stroke position, the lifting muscle has no resistance from its opposing muscle and makes no more effort than necessary to lift the finger. In the stroke, the lifting muscle relaxes while the playing or flexor muscle contracts to produce the tone. Upon the amount of the contraction of this playing muscle depends the power of the tone. With relaxation of the lifting muscle without contraction of the playing muscle a pianissimo tone will result from the mere weight of the finger.

Relaxation. — Herein lies the true principle of the pianissimo; not an effort mot to make tone; not a holding back or contraction of the extensors, but merely complete relaxation. -In the case of a small child’s hand, the weight of the finger is less than the weight of the key and is therefore insufficient to produce even the smallest tone with mere relaxation, but necessitates, on the contrary, more or less contraction. In order to obtain the pianissimo or relaxed condition of the hand with small children, therefore, table practice is absolutely necessary. On the other hand, some hands, especially those of boys and men, have fingers so heavy that the relaxed finger produces by its own weight a broad, full tone. In such cases, the pianissimo is obtained, not by holding back but by lessening the distance through which the finger is to fall.

A fortissimo condition is purely relative. It is due to the greatest possible contraction of the flexors in each individual case. A pianissimo condition is due to absolute relaxation.

To produce the greatest possible contrast in dynamics of which the pianoforte is capable requires the most powerful hand and arm with completely developed muscles under absolute control. To obtain the greatest range of dynamics of which each pianist iscapable , requires the utmost development of the muscles of that individual hand and arm.

Velocity. — While to obtain the greatest tone possible necessitates raising the hand from the wrist, or a low wrist, the natural position of the hand for pianissimo playing is, on the contrary, its natural relaxed position, that is, hanging from the wrist. Thus it will be found that all passages requiring a large tone and great endurance may most easily be played with a low wrist, while all passages requiring great velocity and lightness will be played with the wrist slightly higher than the keyboard. This position will be governed by the shorter fingers, which must not be raised so high that they have difficulty in reaching their keys.

Resistance. — Again, when two boys pull on a rope in opposite directions, if one resists, yielding only very gradually while the other pulls with steady contraction, the stronger contraction of the latter produces, while the resistance of the former retards, the motion. This is the principle of the Melody or Pressure Touch.

IV. MELODY TOUCH.

In playing a flowing melody, melodic passage, or accompaniment melodic in character, the tone produced must be free from all percussion. The most beautiful tones are those which most nearly resemble in quality the tones of a violin or of a singing voice in their pure singing legato. There is no stroke, but rather a pressure of the keys.

The majority of pianists seem to think of the pianoforte as a Hammerklavier, or instrument of percussion, upon which they are able to perform wonderful athletic feats with complicated musical accompaniment. This standpoint is on a level with the acrobats in a vaudeville performance; indeed, ranks not one degree higher, and for purely musical qualities is quite liable to be overreached by some of the modern improvements of the mechanical pianos, which have the extra advantage of economy of labor.

Song. — Music is song. Whether produced by the voice, by stringed instruments played with the bow, by wind instruments, or by the pianoforte, the true beauty of music, no matter how modern and how complicated, is none the less Song. There may be innumerable voices singing different songs and in. different keys and rhythms simultaneously, so that it requires a highly cultivated ear to follow them intelligently; yet the beauty of the music is its singing quality and the beauty of the tone production of the various instruments or voices used. Let one instrument produce a harsh rasping quality, and the ensemble is marred. It is this tone quality which should be the first and foremost principle in the study of both the voice and all orchestral instruments. No tone should be produced, no effort to build a reliable technic made, without constant appeal to the ear for the greatest possible beauty of tone quality. 13

Tone Quality. —Is there any excuse, therefore, for the instrument for which the most beautiful and comprehensive repertoire has been written, to be the one instrument from which tone quality is of secondary or of minor importance? The student who hopes to compete with the various mechanical piano-players must cultivate a beautiful, singing quality of tone, and must rely upon these exquisite qualities of tone production, combined with an intelligent and sympathetic interpretation and reliable technic, rather than upon acrobatic display.

A beautiful tone is the result of correct muscular conditions and can be cultivated by every one, old or young. The naturally beautiful tone may remain more beautiful than the most perfectly acquired tone; though without acquired conscious control the student possessing a natural singing touch might lose some of its original beauty in striving for brilliancy and power.

Muscular Conditions. — The melody touch calls into play both the finger flexor and the triceps or upper-arm extensor muscles, differing also entirely from the stroke, in the introduction of the principle of resistance.

In the stroke, the finger extensors are first contracted to lift the finger, then immediately relaxed when the finger is dropped, either with or without forearm weight or contraction of the finger flexor. In the pressure touch, the fingers are not allowed to drop. The hand is pulled down by triceps contraction with a steady resistance of the flexor of the supporting finger, until the key is pressed by the ball of the playing finger. If, at any point in the descent of the finger, these flexors are suddenly relaxed, the result will be a blow instead of a pressure, even though less heavy because coming from a lesser distance. In the pressure touch, the greater the contraction of the triceps, together with the resistance of the finger flexors, the broader will be the tone. For less tone, less contraction and resistance are needed, but obviously there must be a slight contraction and resistance for even the most pianissimo tone. It should also be noted that if the resistance is too great, the action is so nullified that a weak, uncertain tone is produced and stiffened conditions are the result. This triceps contraction brings a forearm weight into the end of the finger which could not be obtained by biceps relaxation alone, on account of the resistance. The feeling is similar to the portamento, in arm condition and weight.

The Ball of the Finger. — Inthe pressure touch the finger should be raised so that the third phalanx is on a slightly oblique line with the key instead of pointing vertically downward. The point of contact with the key is the ball of the finger, and not the tip. The weight of the arm is of the utmost importance. The result if correctly done will be a singing tone of breadth, depth, and velvety quality.

To illustrate: relax the forearm so that the weight rests on the supporting finger. Raise the next finger in playing position for the pressure touch. (Fig. 9.) Imagine a strong elastic band fastened to the tip of this finger and stretched under the hand to the wrist. Pull the finger down with strong, continuous contraction of the triceps, until the key is pressed. (Fig. 10.) The greater the control and strength or perfect development of these muscles, the fuller, rounder, and more beautiful will the tone become; a tone capable of ranging from the tenderest pianissimo to the most passionate fortissimo, but

Fic. r0.

always beautiful.

V. THE THUMB.

Thumb Action. —If the foregoing ideas of muscular control, condition, and action have been properly understood, there will be little difficulty in regard to the thumb. This clumsiest finger of the hand has double work to do; it must not only drop either by stroke or pressure in its natural five-finger position, but must also take its place under the hand, in readiness to play after any of the other fingers. Like all of the other fingers, it must be curved and raised high by means of the muscle between the thumb | and the hand. This is the muscle used toraisethe thumb, as the extensors on the back of the hand are used to raise the fingers. The principle of relaxation, instantaneous or

PyrGa FF.

gradual, of this thumb muscle is the same for either stroke or pressure, as with the fingers. To bring the thumb into readiness to play after the other fingers (ascending right or descending left hand) the flexor thumb muscle is contracted so as to bring the thumb underneath the fourth or fifth finger and touching the hand. (Fig. 11.)

Hand Position in the Scale. —It will thus be seen that if the hand is _ held straight with the keyboard, the thumb cannot reach its key without extreme effort unless the wrist is turned out.

Therefore, to save time and extra motion, the wrist should be always turned out. This will keep the thumb always over its key.

(Figs. 12 and 13.) For the thumb stroke, when the thumb is under the tance lies in developing relaxation and lightness of stroke.

For this, the same methods are used as with the fingers; that is, there is no contraction of the extensor (in the other fingers, the flexors), but simply the com plete and instantaneous relaxation of the flexor muscle, which has been contracted to hand, its extensor muscle is used. This it will be noticed is precisely the opposite principle from finger stroke, and also different from the thumb stroke in five-finger position.

Thumb_ Relaxation. — As the thumb is the heaviest finger, and also as its most natural tendency when under the hand is toward stiff conditions, the greatest imporraise the thumb up under the fourth finger. When ~ this muscle is relaxed, the thumb drops with its own natural weight upon the key, carrying the key down with it and producing a pianissimo tone.

If the hand has been heid level, and not tipped towards the fifth finger, the thumb will drop well curved with the tip of the nail on the edge of the key. (Fig. 14.) The greatest tendency and the one which clings longer than all the other thumb faults, is the contraction of the extensor muscle of the first phalanx of thethumb. (Fig. 15.) This causes a stiff condition from contraction of an opposing muscle. When the thumb is under proper control the motions are as simple and free as those of the most easily governed finger.