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Adaptive Strategies for Small-Handed Pianists - Lora Deahl, Brenda Wristen

Sheet music

Adaptive Strategies for Small-Handed Pianists
Adaptive Strategies for Small-Handed Pianists

Composer(s):

Lora Deahl

Brenda Wristen

Publisher(s):

Oxford University Press

Publishernumber:

9780190616847

Instrument(s):

Books / Theory

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Adaptive Strategies for Small-Handed Pianists brings together information from biomechanics, ergonomics, physics, anatomy, medicine, and piano pe.. Read more
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Product description

Adaptive Strategies for Small-Handed Pianists brings together information from biomechanics, ergonomics, physics, anatomy, medicine, and piano pedagogy to focus on the subject of small-handedness. The first comprehensive study of its kind, the book opens with an overview of historical, anatomical, and pedagogical perspectives and redresses long-held biases concerning those who struggle at the piano because of issues with hand size. A discussion of work efficiency, the human anatomy, and the constraints of physics serves as the theoretical basis for a focused analysis of healthy movement and piano technique as they relate to small-handedness. Separate chapters deal with specific alternative approaches: redistribution, refingering, strategies to maximize reach and power, and musical solutions for technical problems. Richly illustrated with hundreds of examples from a wide range of piano repertoire, the book is an incomparable resource for piano teachers and students, written in language that is accessible to a broad audience. It balances scholastic rigor with practical experience in the field to demonstrate that the unique physical and musical needs of the small-handed can be addressed in sensitive and appropriate ways. 302 pages.

Content

  • 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

Productdetail

Composer(s):

Lora Deahl

Brenda Wristen

Publisher(s):

Oxford University Press

Publishernumber:

9780190616847

Instrument(s):

Books / Theory

ISBN:

9780190616847

Number:

918395

Theme(s):

Oxford

Piano

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