OVERUSE INJURIES AND PIANO TECHNIQUE - Institutional ...

The first two uses of the arm, according to Matthay, are compulsory and
absolutely integral to good technique. The last four uses identified may be
used at the player's discretion. However, the last way of using the arm,
pushing the upper arm forward along with a downward motion by the
forearm, is a major cause of bad tone production and should be avoided.3!
The poised arm, which is essential to good playing, balances the arm by
means of its own muscles. It serves in between the soimding of tones as the
basis for action of the fingers in holding down notes, as when producing key-
connection legato.32 Any continuously resting arm weight on the key beds
compels the player to exert the hand continuously. Matthay equates this
constant hand exertion to weight transfer.33 Weight transfer, according to
Matthay, has the inevitable drawback of interfering with the ability to choose
a distinct tone for each individual note. Thus it is only good for "mass-
production" effects like crescendo and decrescendo. Conversely, using "arm
vibration" involves using individually timed exertions of the finger and
hand for tone production while the arm vibrates sympathetically. This arm
vibration is used for any rapid passage which must be controlled musically,
whether legato or staccato.34 Matthay favored this type of arm use over his
conceptualization of weight transfer. However, it is important to note the
difference between a "poised" arm, as referred to by Matthay, and an arm in
which the deltoid muscle is uimecessarily tensed. In Matthay's view, a poised
arm is the natural result of a torso which is maintained with maximum
support.
31 Ibid., 26.
32 Ibid., 27.
33 Ibid., 29.
34 Ibid., 27.
33