Conference Presentations -- Music Faculty

Muscular Forces and Joint Angles in Small-Handed Pianists: A Pilot Study on the 7/8 Size Keyboard versus the Full Size Keyboard

Brenda Wristen et al. — Thu, 08 Dec 2005 10:27:13 PST

This pilot study examined whether the use of a 7/8 keyboard contributed to the physical ease of small-handed pianists in comparison with the conventional piano keyboard. A secondary research question focused on the transition from one keyboard to the other. For the purposes of this study, we adopted David Steinbuhler’s postulated hand span of 8 inches or less as defining a “small-handed” pianist. The goal was to measure muscle loading and hand span during performance of the excerpt. Data collection included each participant being monitored using electromyography via surface electrodes, which were attached to the upper back/shoulder, parts of the hand and arm, and the masseter muscle of the jaw. Subjects were also fitted with electrogoniometers to capture how the span from the first metacarpophalangeal (MCP) joint to the fifth MCP joint moved according to performance demands, as well as recording wrist flexion and extension, radial and ulnar deviation. The findings were that small-handed pianists preferred the smaller keyboard and were able to transition smoothly between it and the conventional keyboard. The maximal angle of hand span while playing a difficult piece averaged about 5º smaller on the radial side and 10º smaller on the ulnar side for the 7/8 keyboard, leading to perceived comfort (ease) and better performance as rated by the subjects.

Using Three Dimensional Motion Capture Technology to Describe and Assess Piano Technique: A Case Study

Brenda Wristen et al. — Thu, 08 Dec 2005 08:34:48 PST

The purpose of the study was to examine any differences that exist in the quality of motions employed by pianists when they are sight-reading versus performing repertoire. A secondary question of interest was whether or not an improvement in the efficiency of motion could be observed between two sight-reading trials of the same musical excerpt. While data analysis for the full study is ongoing, the following results from a case study are illustrative.

Small Hands, SOS! : Circumventing Injury and Succeeding at the Piano

Brenda Wristen et al. — Wed, 07 Dec 2005 14:03:49 PST

Recommendations: Detach notes as needed—join with pedal. Release bass and inner voices early as needed. Insert dynamic fluctuations within a long fortissimo passage. Maximize the bass through long pedals. Use stronger fingers. Supplement action of the fingers with a forward and upward motion of the forearm. Use the thumb and fifth finger exclusively for octave passages. Omit notes from successive large chords. Use staccato touch for selected notes in arpeggio. Keep hand compact. Use “rebounding” motion. Insert moment of rest between every chord. Use the damper pedal to create a legato sound. Keep the hand pliable. Control shape and size of forearm rotation. Redistribute long fortissimo octave passages between the hands. Redistribute notes between the hands. Use the thumb to express a tenor melody. Break fingerings into small units that require more hand shifts. Refinger to eliminate stretches. Redistribute notes to eliminate stretches between interlocked hands. Redistribute notes to allow for ease in trills.

Conclusions: Do not recommend exercises or devices that purportedly strengthen fingers or increase hand span. Give specific feedback. Be cautious of repertoire that contains stretches just barely within reach of the hand. Be flexible and experiment to find effective solutions to technical problems. Strive to return to “anatomic neutral” at the hand and wrist as often as possible. Take any complaint of pain or fatigue seriously. Encourage healthy practice habits. Educate students about inherent problems of small hand size. Encourage experimentation. Cultivate an appreciation for different styles of performance. Support the seven-eighth-sized keyboard as a viable option to standard-sized keyboards.

Invited Paper presented at the Music Teachers National Association Conference, Cincinnati, Ohio, March 20, 2002