Adaptive Strategies for Small-Handed Pianists
- Author: Deahl, Lora
- Author: Wristen, Brenda
This book is a very welcome addition to the literature on piano playing as applied to the small-handed pianist. Co-authors Lora Deahl and Brenda Wristen, both small-handed pianists themselves,... — More…
Book
$155.00Special import
Contents
- Foreword
- Acknowledgments
- Key to Abbreviations and Graphic Symbols
- Chapter 1: Understanding Small-Handedness
- Defining the Small Hand
- 1 Demographics of Small-Handedness
- 1 The Evolution of the Modern Piano and Its Relationship to Small-Handedness
- 2 Historical Background
- 2 Ergonomically-Scaled (Reduced-Size) Piano Keyboards
- 1 Pedagogical Misconceptions About Small Hands
- 2 Selection Bias and Other Gender-Related Aspects
- 2 Attempts to Stretch the Small Hand
- 1 Small-Handedness and Injury
- 1 The Role of the Teacher
- 1 Conclusion
- 1 Reflection Points
- Chapter 2: Fundamental Principles of Movement and the Playing Apparatus
- 1 Principles of Work Efficiency
- 1 Principles of Movement
- 2 Leverage
- 2 Newton's Laws and Piano Technique
- 2 Muscular Contraction and Release
- 2 Additional Characteristics of Movement Economy
- 2 Planes of Motion
- 2 Neutral Position at the Piano
- 1 The Parts of the Playing Apparatus
- 2 Torso
- 2 Shoulder and Upper Arm
- 2 Forearm
- 2 Wrist
- 2 Hand and Fingers
- 1 Conclusion
- 1 Reflection Points
- Chapter 3: Technique and the Small-Handed Pianist
- 1 Maladaptive Tendencies
- 2 Fatigue
- 2 Power
- 2 Reach
- 1 Lexicon of Fundamental Facilitative Techniques for the Small-Handed Pianist
- 2 Avoiding Fatigue
- 3 Timing Muscular Releases
- 3 Using Levers Appropriately
- 3 Cultivating Finger-To-Elbow Alignment
- 3 Combining Basic Movements into Larger Gestures
- 3 Reducing the Amplitude of Movements and Gestures
- 2 Producing Power
- 3 Maximizing Key Speed
- 3 Transmitting Force Through Skeletal Structures
- 3 Using Arm Impulses
- 2 Addressing Large Reaches and Distances
- 3 Using the Arm to Navigate Distances
- 3 Using Passive Spread
- 3 Using Vertical Spanning
- 1 Boundaries
- 1 Conclusion
- 1 Reflection Points
- Chapter 4: Redistribution
- 1 Uncrossing Parts
- 1 Eliminating Stretches in Chords and Arpeggios
- 1 Facilitating Leaps or Hand Shifts
- 1 Increasing Accuracy, Power, and Control
- 1 Maintaining More Neutral Hand and Wrist Positions
- 1 Facilitating Trills and Tremolos
- 1 Maintaining Legato and Line
- 1 Projecting Harmony
- 1 Conclusion
- 1 Application Problems
- Chapter 5: Refingering
- 1 Fingering and Hand Size
- 1 Encouraging Compact Hand Positions
- 2 Chords
- 2 Arpeggios, Broken Chords, and Melodic Intervals
- 2 Consecutive Double Notes and Octaves
- 2 Readjusting the Hand to a More Compact Shape
- 2 Playing Seconds with the Thumb Alone
- 2 Using Non-Consecutive Fingerings
- 2 Playing Trills
- 1 Repeating the Same Finger to Recover Space in the Hand
- 1 Optimizing Sound Production and Voicing
- 2 Repeated Use of the Fifth Finger and Thumb to Project Melodies
- 2 Aligning the Hand and Forearm in a Skeletal Position
- 1 Moving Longer Fingers over Shorter Fingers
- 1 Substituting the Thumb for Inner Fingers
- 1 Using Positional Fingerings to Achieve Maximum Speed
- 1 Substituting One Finger for Another on the Same Key
- 1 Retaking Released Notes Silently
- 1 Conclusion
- 1 Application Problems
- Chapter 6: Maximizing Reach and Power
- 1 Covering Large Distances
- 2 Applications of Either Oval or Fan-Shaped Gestures
- 2 Applications of Oval Gestures
- 2 Applications of Fan-Shaped Gestures
- 1 Facilitating Large Reaches
- 2 Applications of Passive Spread
- 2 Applications of Vertical Spanning
- 2 Applications of Passive Spread in Conjunction with Vertical Spanning
- 1 Dividing or Rolling Chords
- 2 Consecutive and Non-Consecutive Divisions or Rolls
- 2 Simultaneous Divisions or Rolls
- 1 Releasing Notes
- 2 Releasing Notes in Chords and Multi-layered Textures
- 2 Releasing Notes in Melodic Intervals, Arpeggios, and Broken Chords
- 2 Releasing Notes in Broken Octaves
- 1 Using Rotation for Power
- 1 Taking Advantage of Skeletal Support
- 1 Playing Staccato Chords and Octaves
- 2 Repeated Chords and Octaves
- 2 Traveling Staccato Chords and Octaves
- 2 Legato Octaves
- 1 Grouping Notes into Larger Gestures
- 1 Omitting and Revising Notes
- 1 Conclusion
- 1 Application Problems
- Chapter 7: Musical Solutions for Technical Problems
- 1 Legato
- 2 Legato in Widespread Cantabile Melodies and Arpeggiated Accompaniments
- 2 Legato in Octave and Double-Note Passages
- 1 Fortissimo Playing
- 1 Pedaling
- 2 Damper Pedal
- 2 Sostenuto Pedal
- 1 Voicing
- 1 Rhythmic Inflection, Tempo Modification, and Rubato
- 1 Gestural Shaping
- 1 Conclusion
- 1 Reflection Points
- Chapter 8: Integration and Exploration
- 1 Diagnosis and Integration
- 1 Exploration
- 1 Closing Thoughts
- Glossary of Terms
- Bibliography
- List of Activities
- List of Examples
- Lists of Figures
- List of Tables
- Index