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upper arm describes an arc in the frontal plane siimlar to that observed in a single-note scale. Since movements of the right hand playing alone were described, these arcs are more shifted toward the right. The upper arm provides direction for the ascent and descent of the odave scale and also makes backward/forward adjustments as already described. The force for actual key depression is provided by the forearm, with the added weight of the wrist and hand. The vmst is raised in comparison with its normal playing position, and the arch of the hand is more flattened, though it is still present. Slight giving of the wrist may be noticeable at the moment when force is transmitted onto the keys, foUowed by the wrist rebounding upward. The MCP, PIP, and DIP joints of the thumb and fifth finger are stabilized at the moment of impad, transmitting ihe weight from the forearm into the key bed. The rebound of the key helps lift the hand out of the key bed to prepare for the next key stroke. Between each key depression, the hand remains open between the PIP joint of the fifth (or fourth) finger and the PIP joint of the thumb. Thus, the hand is always ready to play, aiding both speed and accuracy in moving from one odave to the next. Yet the hand is not rigid as there is a slight rebounding in the palm between odaves. The inner fingers do contad the key surface as each odave is played. Even so, since the PIP and DIP joints of these inner fingers are not stabilized at the moment of key impact, these fingers do not produce a tone. Moreover, the MCP joints of the inadive fingers suspend weight at the moment of impad in such a way as to prevent them from depressing keys. As was pointed out by some of the piano pedagogues surveyed, hand size is an important factor in odave playing, espedally in sequential odave playing. In a small hand, the arch (which is must be somewhat flattened due 165
to the demands of the task anyway) may have a tendency to coUapse completely. If the arch collapses, the player wiU Ukely have difficulty keeping the inner fingers from producing tones (the MCP joints may themselves contad and depress the keys) and in moving from one odave to the next, espedaUy if black keys are involved. Broken Chords and Odaves Observations and Recommendations of Noted Pedagogues Piano pedagogues widely agree that the execution of broken chords and octaves diredly depends upon forearm rotation. This is readily confirmed upon observation of this skill. Ortmann stated that it is easy to play broken chords by using forearm rotation so long as the accented note of the pattem faUs on the dov^mbeat. If the accent falls on any other note within the broken chord figure, he claimed we must rely upon finger strength.2i9 This remark seems unfounded. If the accent falls on a beat other than the downbeat, it is possible to effed an accent through a short impulse initiated by the forearm and transmitted through the wrist to the fingers without disturbing forearm rotation. Ortmann also noted that the muscles which aUow for supination are naturaUy stronger than those which cause pronation.220 According to Ortmann, it is therefore easier to supinate than to pronate. He advocated caution as the fifth finger is approached within any broken chord figure. He claimed that if supination was continued past the point where the fifth finger contacts the key, then the basic movement changes from one of forearm rotation to upper arm rotation. 219 Ortmann, 195. 220 Ibid., 193. 166
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OVERUSE INJURIES AND PIANO TECHNIQU
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ACKNOWLEDGEMENTS I would like to ex
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III. BIOMECHANICAL DESCRffTIONS OF
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ABSTRACT Of the total number of mus
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LIST OF TABLES 3.1 Extrinsic Muscle
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4.6 Thoracic Outlet Syndrome 199 4.
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Fingers."! Laires, a student of Phi
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The motions used in piano playing a
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tendons and joints during piano pla
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keyboards and acoustic grands. Thou
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male pianists ranging in age from 1
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and hand weight were the only two e
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determine how the wrist was being u
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which the hammer of the piano mecha
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least for practice if not for publi
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processes leading into a given cycl
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execution of a technical skill at t
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CHAPTER II TWENTIETH-CENTURY PEDAG
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finger motions. The finger muscles
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that the player poise the hands abo
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is only a successfully musical play
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strong flexors, there is a momentar
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Matthay declared that there is no s
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exclusively to one of the three cat
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potential to generate excessive ten
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inappropriate. Pichier claimed that
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fingers. She addressed the role of
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described in great detail the skele
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otation of the upper arm. The finge
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a piece. He therefore asserted that
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amount of resistance differs from k
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and vertical movement at the keyboa
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problem in repertoire which is rela
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way to develop physical technical c
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interference. Contextual interferen
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"-^ '"(«>1" iiH^'*^"^-J J^"t o)
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Gyorgy Sandor claimed that practici
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the relative strength of the finger
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ability to independently extend the
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of variation. If control of the mov
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muscle and tendon structure and fun
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the observations wiU be broad enoug
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Acromion process Long bead ofbi Tic
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extension fi»:Cri Utfrrif totabon
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stabiUty and greater freedom of mov
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This muscle contributes most to elb
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Radius Figure 3.4. Pronator Quadrat
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outside lower end of the humems and
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flexion are located on the anterior
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Figure 3.7. Joints of the Fingers 8
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Flexion Extension Abduction Adducti
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Table 3.1. Major Extrinsic Muscles
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Therefore, some of the motions whic
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accomplished by a lateral shifting
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that both elbow extension and humer
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After this exerdse is mastered, the
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scale, and the upper arm and elbow
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should be the last technical skiU t
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motion of the thumb is exceeded if
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In summary, the thumb and the cross
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The goal in scale playing is a smoo
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continue to the next odave of the s
Page 125 and 126: the hands are lifted from the lap a
Page 127 and 128: gravity begins a shift back to the
Page 129 and 130: hand, and are generally higher duri
Page 131 and 132: analyzing movements instead of conc
Page 133 and 134: in position will result in slight b
Page 135 and 136: esponsible for initiating movement.
Page 137 and 138: Rapid exerdses which require a quie
Page 139 and 140: independently from the hand and arm
Page 141 and 142: land on its key. In rapid arpeggios
Page 143 and 144: hand coUapses somewhat, giving grea
Page 145 and 146: the hand is in its neutral aUgnment
Page 147 and 148: acceleration and velocity are not t
Page 149 and 150: conunonly used 2-3 fingering.! 5! U
Page 151 and 152: level at which the tone is produced
Page 153 and 154: is conceivable that the process wou
Page 155 and 156: finger. However, if the thumb is ex
Page 157 and 158: playing, it is a question of which
Page 159 and 160: of chromatic-double-note passages.!
Page 161 and 162: esuh in a "kind of diagonal pull" a
Page 163 and 164: does not tine up behind the second
Page 165 and 166: Last has acknowledged that hand siz
Page 167 and 168: tightens vmst adion, necessitating
Page 169 and 170: onto the appropriate keys. As inten
Page 171 and 172: This rebounding effect is fadtitate
Page 173 and 174: Biomechanical Description of Double
Page 175: Octave Scales Odave scales are usua
Page 179 and 180: wrist in the frontal plane. Newman
Page 181 and 182: "unfolding" fingers.228 pink pointe
Page 183 and 184: moment of key impad, the joints of
Page 185 and 186: CFL\PTER rV PREVENTION OF KEYBOARD
Page 187 and 188: Motions made at the piano are not m
Page 189 and 190: Force Charaderistics Mechanical cha
Page 191 and 192: equire more than a single stimulus
Page 193 and 194: area. It is also possible that stre
Page 195 and 196: waste products, resulting in increa
Page 197 and 198: 12 Apphed 10 Stress (N/mm2) 8 0 'To
Page 199 and 200: does not take place instantaneously
Page 201 and 202: these injuries may be theoreticaUy
Page 203 and 204: termed "tenosynovitis." If the teno
Page 205 and 206: Figure 4.3. 'Trigger" Finger TRIGGE
Page 207 and 208: Ulnar Nerve Transverse Carpal Ligam
Page 209 and 210: Ulnar Nerve Cubital Tunnel Rexor Ca
Page 211 and 212: tingling and pain along the ulnar s
Page 213 and 214: treatment. Conservative measures, s
Page 215 and 216: Performing Artists in Chicago, reco
Page 217 and 218: joints and the transverse axis thro
Page 219 and 220: Observations Regarding the Entire P
Page 221 and 222: typists) this recommendation might
Page 223 and 224: fingers are required to produce the
Page 225 and 226: playmg.106 He did claim, however, t
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(sti-aight) or sUghtly drooped betw
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more overuse injuries are reported
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and isolated segment of the "work c
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sudden exposure to temperatures bel
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of key at rest and the point at whi
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Meuike generalized that the single
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epetition. The pianist can ameliora
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CHAPTER V CONCLUSION The Need For B
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strength in the fingers themselves.
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individual differences, all human b
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movement in all the involved planes
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quatitative analysis was developed
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III. C. What environmental factors
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Table 5.1 Continued Right Hand Asce
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Table 5.3. Checktist for Trills' MO
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Table 5.5. Checklist for Octave Sca
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inversion at a time. The goal is ev
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student's technique based upon thes
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fingers, may be defined. Quantified
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Chaffin, Don B. and Gunnar B.J. And
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KeUa, John J., Ph.D. "Musculoskelet
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Rempel, David. "Musculoskeletal Loa
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APPENDDC A GLOSSARY OF TERMS 260
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Deltoid-muscle of the glenohumeral
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Pennate-vdth regard to muscle fiber
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APPENDDC B ADDITIONAL ANATOMIC FIGU
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trtctips mMial epiconttyle olecrano
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^^_: y.. > i \->-" i ' • • p. )
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Sternal oectoralis maior Anterior d
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Muscle Fiber Types and Architecture
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move body segments through a greate
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about the normal length of a muscle
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provide lubrication, protection, an
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