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sparks of energy which allowed the fingers to return to the relaxed state instantly. When you listen to recordings of Godowskis lightning leggiero finger work (as in Liszts La Leggierezza for example) this description makes good sense.) It takes only armchair reasoning (to borrow Richard Dawkinss phrase) to understand that learning to perform an action with the minimum of effort and tension is going to be of benefit technically, but anatomical knowledge is needed to understand fully why the finger movement induced by tapping works so well in playing the piano. The key point is that tapping the finger forces it to mimic the coordination that would be caused by using the intrinsic muscles of the hand (i.e. the interossei and lumbricals), by making the finger flex at the first joint (MCP) and extend at the second and third (PIP and DIP). Success in reproducing this movement without the aid of tapping is only possible with the use of the intrinsic muscles. Their great benefit to the pianist is that they can act independently of each other (unlike the muslces in the forearm) and can work at great speed. They are also provided with a very high degree of neural feedback. Alternatively, using the long forearm flexors (flexor digitorum profundus and flexor digitorum superficialis in particular) results in a stiff hand because of their tendency to make the fingers work together as a unit. These muscles are also less sensitive for tone control and speed than are the muscles in the hand, because they are so far from the levers they operate. Goulds habit of immersing his hands in hot water before performing is further proof that he used this fine coordination. The small intrinsic musicles at the extremities of the limbs are much more vulnerable to cold temperatures than are those in the forearms. My own adaptation of the technique and one I find extremely useful in teaching is to tap the fingers immediately proximal to the PIP joints (just above the middle joints), as this mimics the the intrinsic coordination very faithfully although it can lead to a feeling of being rather detached from the fingertips. I love using the official Guerrero method as well, as this give a wonderful feeling of hugging the keys with the finger pads. Anyone who has seen Gould play will recognise the way the fingers seem to mould themselves, as though boneless, to the keys. You will need to have a lower wrist position for the end joint (Guerrero style) tapping to work properly. For more detailed information on how the intrinsic coordination
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works read Curved fingers and tension? and view the PowerPoint slide shows The Ergonomics of Piano Technique and A Look at the Muscles which Control the Fingers. The first three videos on the page The Beast with Five Fingers should also be helpful. Richard Beauchamp is keyboard coordinator at St Marys Music School, Edinburgh. Disclaimer
Home | Musicians' Health | Anatomy/Biomechanics | Piano Teaching | Richard Beauchamp
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