Playing With Fire #7

In Playing With Fire #5 I mentioned that stretching is not all it is cracked up to be. Let me recap this. Many people are taught to warm up by stretching. What is stretching and warming up?

When you stretch a muscle, you create micro tears to the muscle fibers and the body rushes warm blood to the site to begin immobilization and start repairing the damage. This rush of warm blood gives us the illusion of warming up. Body builders like this feeling because as the muscles inflame with tissue repairing blood it makes them feel bigger and their clothes tighter. Actors and models will often do pushups or other exercises before being photographed for it indeed makes them look slightly larger or more muscular.

Your muscles become tendons which are then attached to your bones. When the muscles are cold, they are contracted and tight. If you force your muscles to move when they are contracted, the tendon is caught between the forces of the muscle and bone. Most often, the tendon will strain or tear. Tendons, just like like muscle, contract and expand. Like uncooked spaghetti, bend it and it will break but add a little heat . . .

The greatest danger to any musician or athlete is the high school gym teacher or ignorant music teacher. Indeed, muscles operate at peak efficiency when they are warm, blood is flowing freely and they are expanded. You can't force that by tearing tissue. A better way to warm up is to sit in a warm room.

In the Journal of Strength & Conditioning Research, they found that stretching led to more than an 8% decrease in body strength. Researchers suggest that stretching may change or limit your muscles’ ability to fire efficiently because they are damaged. If you try to lengthen a muscle before giving it the chance to warm up, you can limit its potential to generate strength and power. This not only reduces your performance but it may also increase your risk of injury. https://www.ncbi.nlm.nih.gov/pubmed/22692125

You also can't spot warm up. If you stretch your legs in an attempt to warm up, the blood that you are using quickly circulates to other parts of the body. The only way to safely warm up the whole body is to actually warm up the whole body. You can not force warming up by stretching. Micro tears to the tendons may feel good on first stretch but over time the scar tissue that is placed in those tiny tears will build up to become full blown tendinitis.

In place of stretching, I would suggest gentle movement in your mid range of motion. When you static move to the extreme range of motion where you feel that satisfying stretch, you are creating damage.

Just because your teacher said that stretching is good, that does not mean they are correct. It only means that their teacher was wrong, too. However, if you do have scar tissue on your tendons which will result in inflammation and sharp pain when you move, breaking up the scar tissue is the first step to healing. Instead of stretching and risking augmented damage, get a deep tissue myofascial massage and let the therapist break it up for you without you risking another stretch and further amplification of damage.

Playing With Fire #6

The point of sound can be felt on an acoustic piano. Electronic pianos and organs have them but they are pretty much indiscernible.

Slowly press down on an acoustic piano key without making it sound. At one point you will feel a little bump. If you press beyond that bump, the key will give way and you will be pressing into the keybed. If a pianist wishes to achieve that pearly sound of fast and light notes, they need to learn to play to the point of sound.

As previously mentioned, pressing into the keybed will force a stretch to the long flexor tendon which creates strain. Not to mention, if you are pressing down into the keybed, you can't move your hand or fingers up to the next note because before you can play down you must first play up. Every motion has an equal and opposite motion. This is where some pianists and typists run into trouble because they are trying to maintain a “still and quiet” or relaxed hand. It is in their relaxation they are creating tension because when they use the wrong muscles, they create tension, then they try to relax the very muscles they are using.

When you kick a ball, you first back kick. Swing a bat and you will first back swing. Cast a fishing pole, back cast. Walk forward, press backward. Punch someone, back swing. When you walk forward, as your left leg reaches forward your right hip rotates backward. As your right hip rotates backward, your right shoulder rotates forward. Every motion has equal and opposite motions and your body is designed to work with other parts for balance, relaxation, power and efficiency. When you isolate a part, you will create problems. Pianists and typists are rarely taught this. They think playing comes from the fingers but it shouldn't. It should first originate from the larger muscles of the arm. When the arm does most of the work, it frees the fingers to do some of the more fine tuned movements and, to truly relax. BTW, the fingers don't have muscles. They are moved by the muscles in the forearm. When a pianist or typist tries to originate movement from the fingers, they will strain the tendons.

In order to type or play down on a piano, you must have an up movement to harness the power of gravity. If you play with your fingers pressing down on the keys, you will not have the power, speed and accuracy of the arms. You have probably seen pianists playing with graceful movements. They are not just putting on a show, they are feeling and moderating the weight of their arm. Ideally, most of the up motion should be minimized once it is in the brain. Even playing a simple scale, the arm might change directions via the pronator and supinator muscles up to six times. This is invisible to the eye but must be there in the player's arm. If not, they will static load and create tension, cramps and fatigue.

This law of physics also pertains to other muscles such as your pronator and supinator muscles. If you are rotating your arm to play a downward scale, your must first counter rotate to give the arm both power and to control its direction. Keeping all five fingers together and moving in the same direction will provide great facility. Even the fingers you are not using must go in the same direction and play down at the same time. Some piano teachers call this “tapping.” It is when we stretch our fingers out and pull in opposite directions at the same time we create cramps and fatigue.

Keep in mind that all movement, once learned and ingrained into the muscle memory of your brain, it must be minimized to being invisible. The opposite motions are all there, they just can not be seen anymore, however, the pianist will feel them and it will be a feeling of power and effortlessness because they are not using the wrong muscles to play. Most of us are taught to use the wrong muscles, or, we are not taught anything. It is a dangerous teacher who simply says to practice more, relax or prescribes silly exercises to build unnecessary strength and endurance, both which everyone already has aplenty within their arms. The reason teachers think a student requires strength and endurance is because the incorrect muscles a student may be using are indeed weak and fatigable. Strengthening them reinforces improper movement and sets the stage for the mythical beast called “repetitive strain injury.”

The Nativity Story in Candy

This is a wonderful children's homily but can be expensive, especially if you purchase jumbo sizes for visibility purposes.

As you reference each candy item, hold it up. As you write you own personal script for this, look for ways to repeat many of the candies so that anarchy ensues as you rifle through the once ordered pile to find what is next. Well, **I** think that chaos is fun.

Obviously your presentation requires the right inflection and pauses for the ultimate in campiness. Not only is this a wonderful children's homily but, the kids get to eat the homily after the service. So, in incomplete sentences, you can wax out the full story for yourself . . .

Angel appears to Mary, you are going to have a BABY Ruth.

He will be a LIFE SAVER

Joseph was a GOODbar about it.

They had to leave town because as an unwed pregnant mother, people in town would SNICKERS

The got on a donkey to SKITTLE out of town

They hit the TRAIL MIX

Exhausted from the trip, they decided to TAKE FIVE

When they arrived, they went from BAR to BAR to BAR (three Hershey's), there was no room anywhere.

Finally, at one inn, in a barn, they found room where Mary gave birth to her SUGAR BABY, our LIFE SAVER.

In the barn there were sheep, cows and maybe even a KIT KAT or a DOVE

Shepherds also TOOK FIVE and hit the TRAIL MIX

Mary and Joseph smothered Jesus with KISSES

(here, you can say "It get's worse.")

Herod was up to his old TWIX and sent three SMARTIES to find a babe in a stable.

They too hit the TRAIL MIX

These wise men astrologers were not DUM DUMs nor were they NERDS

They looked up into the MILKY WAY, assessing all the DOTS in the sky to find a specific STARBURST

Everyone thought they were MIXED NUTS to go on such a perilous journey to find a treasure (drops fistful of gold foil wrapped chocolate coins) in a stable.

When they found him, the gave him gifts of Gold (drops chocolate coins again), Frankincense and WHATCHAMACALLIT

They returned from their SNOW CAP'd journey to Herod and not wishing to reveal the location of Jesus, told him a WHOPPER.

Jesus, our LIFE SAVER is the RAISIN for the season.

When this homily was presented at my church, I don't think many of our kids got the puns but they oooh'd and ahhh'd at each delicious and yummy reveal.

Playing With Fire #5

In Playing With Fire #4 I mentioned dropping the hand or finger into the key. This is called playing with gravity or arm weight. Some pianists may complain that certain pianos have a stiff action or, when they are cold, they have difficulty depressing keys. That is because they are trying to use the flexor muscles or the non-existent finger muscles to play. Your fingers have no muscles. They are moved by the muscles of the forearm.

When a pianist plays with gravity, the keys go down effortlessly because they are not using any muscle to depress the key, they are only using gravity or the weight of the arm. The only muscle engaged is the bicep which raises the hand from the fulcrum of the elbow, then controls the descent.

It is important to note that once your finger depresses a key, after you hit the "point of sound," you unweigh your arm so that you are not pressing down, leaving just enough weight to keep the key down. Another source of the apocryphal "repetitive strain injury" is pressing into keys because pressing stretches the long flexor tendons and stretching can create strain and micro tears. Since tendons do not have an active blood supply to promote healing, the body places scar tissue in the wound but, scar tissue does not stretch and results in larger tears the next time you stretch.

Warming up through stretching is also a myth. What happens when you overstretch your muscles, you tear muscle fibers and the body rushes blood to the site to begin repairing the damage of the stretch. Since blood is warm, it gives the illusion of warming up. A better way to warm up is to sit in a warm room. Also, you can't spot warm up since your blood is always circulating. When muscles and tendons are actually cold, they contract and resist stretching. Stretching cold tendons is always bad because they are contracted, resisting stretching and more apt to tear than stretch.

It is sort of like stretching warm taffy into gooey strands. Try that with frozen taffy and it will break. It is important for a pianist to never play with a cold body unless you have mastered ergonomic playing and the laws of physics.

Playing With Fire #4

Another problem with fabled "repetitive strain injuries" is not only what we are doing wrong but, what we are not doing right. Not only are there movements which hinder playing but there are movements which augment it.

Some pianists develop thumb problems. Often they are taught to cross the thumb under the palm which is bad for many reasons and they are also taught to play the thumb straight down which cripples the effortlessness of the rest of the fingers. The hand requires balance and that can not be achieved if we isolate fingers.

The muscle that plays the thumb straight down is the thumb's abductor. Abductor muscles are rather weak and sluggish and fatigue quickly. The thumb's strongest muscle is its flexor which pulls the thumb under the palm. Your thumbs are designed for gripping and holding. But the keys to the piano are not in the palm, they are under it. Crossing under then down uses two muscles at the same time and creates a dual pull of the thumb's bone. In this vector force tug of war between two muscles, strain can occur and certainly uneven playing. In addition, the thumb's tendon and the forefinger tendon intersect. When you cross the thumb under and flex the forefinger, the two tendons grind together. Friction of a tendon is not good. Eventually the pianist may develop thumb problems. Instead of playing the thumb's abductor straight down, there are other movements which can give it effortlessness and power. I'll cover how to get the thumb over (and not under) for scales and arpeggios later.

The first movement is to simply let gravity play the thumb down. Lift your arm up then let if gently fall to the key and depress it (without pressing into the key bed). As you can feel, gravity, or the weight of the arm is very powerful and effortless. Often pianists complain that the action of some pianos are stiff. They are not. The pianist is just trying to play using the wrong or weakest muscles. While depressing a key using gravity, notice you did not use any muscle of the thumb at all. Another motion is to use your pronator and supinator muscle which are located around your elbow. From your elbow, rotate your hand from the elbow, left and right. Notice how fast and effortless you can move your thumb without using it. Make sure your wrist is straight. Now, from your shoulder and elbow, forward shift into a key with your thumb, like poking someone's eye. Again, you don't use any thumb muscle but only arm muscle. The elbow, or pronator and supinator muscles, is where trills and tremolos come from, not the fingers or hand. The pianist who attempts to play them from the fingers (which have no muscles) or hand will quickly experience fatigue, cramps or pain.

You now have three ways to use the thumb to depress a key without using the thumb's muscles at all. Combine all three then minimize them and you will be on your way to effortless playing. Eight fingers to go.

Playing With Fire #3

Median Nerve Entrapment, or carpal tunnel syndrome, is often the result of an inflamed long flexor tendon. When we move improperly or over stretch, micro tears form on the tendon and since the tendon has no direct blood supply it can't heal very quickly so the body places scar tissue in the tear as a quick fix. Tendons glide and stretch within the tendon sheath but scar tissue does stretch not and more stretching or continued improper movement creates larger tears. Soon, inflammation sets in. Our long flexor tendons run through the carpal tunnel where the median nerve also passes. It is a tight and compact space and when the long flexor tendon becomes inflamed or larger, there is no place for it to expand so it crushes the median nerve giving us symptoms of pain and numbness.

Overuse is not the problem or cause of tendon issues, misuse is. Worse yet is if you combine tmisuse and overuse. When you move properly, there is no overuse. Much like a car in peak condition, you can drive it for thousands of miles with little wear and tear. However, if your frame is bent or there is something out of alignment, wear and tear will happen very quickly. Our bodies are no different. Compare this wear and tear to the tires on your car. If your car is out of alignment and that imbalance is eating away at your tires, you can get new tires but the wear and tear will happen to the new tires, too. The better solution is to fix the alignment of your wheels. Likewise, fix the alignment of your movement. Treat problems, not symptoms.

Often doctors treat the symptom of this pressure to the median nerve with drugs, rest, splints, PT, injections or surgery. Symptoms should not be treated, problems should be and for most people, the problem is they are simply moving improperly. Even after surgery and the symptom is “cured,” the problem of poor ergonomic movement still exists. The doctor only made more room for more future inflammation.

The benefit of learning how to move properly is that not only will the symptoms of pain, fatigue and numbness disappear but, as a musician, your accuracy, speed and power will increase and improve. Also, as you transfer these movements to everyday life, you'll discover ease and effortlessness in other motions of your daily living.

There is one danger though, once you learn to move properly, there is no going back to improper movement. Moving improperly will promote muscle growth of the improper muscles and once you stop using them you will lose them, the incorrect muscles will atrophy. This is often referred to by musicians as being rusty. Proper movement does not need to be practiced once learned, like walking or riding a bike, it is always there. Improper movement requires constant maintenance because it is not natural. This gives rise to the old adage, “Miss a day of practice and you notice. Miss two days and your competition notices. Miss three days and your audience notices.” A proper, ergonomic or virtuoso technique, like walking, is there forever and requires no maintenance.

Should you ever go back to moving improperly, you can seriously injure yourself because the incorrect muscles will have atrophied. Proper movement is all or nothing. I have found that many people either don't have the patience, dedication nor intelligence to re-learn how to move. This is not a criticism, it just is.

Playing With Fire #2

Many pianists and typists move incorrectly and improper movement creates tension and fatigue.  If you've ever gotten cramps or had to shake your hands out or wake up in the morning with stiff fingers, it is most likely because you use the wrong muscles or, are using them improperly.  When you play a finger BONE down onto a key, it must go straight down, following the path of gravity.  Often pianists are employing three of four muscles at the same time and three muscles pulling on one bone in three directions is what causes problems.  It is like if you were driving a car and trying to turn left and I grabbed the steering wheel and tried to pull us right, that is what goes on with our hands and we condition ourselves to accept then multiple muscle pulls as normal.  Really bad teachers will tell the student to practice more or build strength and endurance then prescribe silly exercises when all a long the student only needs to use the correct muscle and stop using the wrong ones.  In the car example, you would not need to work out or practice driving to stop me from trying to run us off the road.  You only need to stop using me as your copilot.

I will elaborate on this much more but for now, know that it is gravity that plays the keys down, all five fingers must move in the same direction at the same time (they are NEVER isolated as many teachers teach – that creates abduction and flexation at the same time), all five fingers play together, it is the arm that places the finger, the flexors are used minimally. This goes against what most of us are taught but, the laws of physics must never be challenged. If we do challenge them, we will lose and our orthopedic surgeons will be eating steak this week.

In summary, tension, pain, cramps, uneven playing, weakness in playing or syndromes are symptoms of using two or more muscles to simultaneously move one bone. Like the game “Tug of War,” one of your tendons will eventually tire and give out.

Anytime a pianist experiences tension, more practice only hard wires improper movement into the brain's muscle memory. It would be best to stop practicing until the movement can be corrected. Also, over time micro tears can form on the long flexor tendons which will result in inflammation. An inflamed long flexor tendon will press on the Median Nerve within the carpal tunnel resulting in pain, fatigue or numbness.

Playing With Fire #1

Playing With Fire #1

There is a myth that repetitive movement creates repetitive strain injuries. That is false.  Improper movement creates strain, fatigue and injury. Over the course of a year I am going to address issues of movement and how it can lead to injury, especially as it pertains to pianists. 

With all five fingers together, wave "bye bye."  Now abduct your fingers (spread them out) and wave "bye bye." Feel the strain? At the very least, you should feel that your fingers don't move as effortlessly as they did when they were moving together in one direction at a time.  This is where computer users, pianists or anyone who uses their hands can go wrong.

When you wave with your fingers together, you are alternating between the flexors and extensors, the muscles in your forearm (your fingers have no muscle) that flex and extend them. Your flexors are designed to move your fingers in one direction and your extensors are designed to move them in the opposite direction.  You can not flex and extend at the same time because you can only move your finger bones in one direction. For instance, you can only steer your car left or right, not in both directions at the same time. 

However, when you use your abductors at the same time you use your flexors, you are pulling the bone in two directions at the same time and that creates a tug of war or strain to the muscles and more directly to the tendons. You are attempting to move them down but left and right, too.

Most people who experience strain, fatigue, cramps or pain are creating this force vector which can build up scar tissue over time resulting in inflammation to the tendons. 

Optical Illusions

Are you looking for a fun activity to do outdoors with your kids or youth group?  All you need is a camera, an eye for location and a subject (with a solid core) who can hold a pose.  Very little photo editing is required.

First, take a hike.  Check with local hiking groups and online websites to find hikes that are appropriate for your age children then take them to the summit.  Bring lots of water and snacks.  Don't forget the water and bring plenty of water.  Did I mention not to skimp on the water? Bring more water than Brett Kavanaugh drinks beer.  I like beer.

Whatever mountain you choose, if you are not an experienced hiker, read trail reports to figure out how long a round trip will take.  Plan accordingly.  Bring flashlights (along with water) in case you miscalculate.  Chances are you live near an area with short one or two hour hikes.  You can also do a Google Image search of your chosen peak so you can see pictures of the summit that other hikers have taken and plan your photo layout in advance.

Then, look for a ledge, large flat slabs of granite or a large rock (erratic) that they can lay on.  What is important is for the camera to get either high or low enough to catch the subject but with either only sky or rock in the background.  If you catch any trees in the background you will have to do some editing for everything in the background will belie the optical illusion. This is why you may have to hike to the summit of the mountain and look for layered ledges or a large erratic.  If you try this on a slab of granite, make sure there are no shadows from trees or people which will give away the illusion.

Once you find your location, safety always comes first.  Do you know what the leading cause of death is while hiking?  The selfie.

Find a crack or bulge in your rock and have your subject lie down on their side below it with their bottom arm stretched up to the crack or bulge (a more realistic picture will have their arm at a right angle).  They must lie in a straight line.  Their upper arm should be relaxed but held up in the air pointing toward their feet.  Their head can be angled downward and their eyes can look all the way down toward their feet.  This is the "acting" part to give the illusion of awe of the height.  Too much acting will look fake.  Anyone brave enough to climb a cliff won't have the look of fear on their face.  Likewise, a real climber would not hang by his fingertips and smile for a camera. Real climbing is serious business and poses often look fake or at least, not dangerous. This should look like a candid pic snapped in the midst of action.

Now the hard part.  The subject needs to raise both feet and legs off the ground.  At least the upper leg.  Point the toes downward, this is very important.  Likewise, the arm should have the relaxed grace of a ballerina.  After the picture is taken, load it into a photo editor and simply rotate it once in the proper direction then save it. 

Another tip to ensure that the photo looks as real as possible, the subject shouldn't wear loose clothing, loose long hair and, their shoelaces should be tucked in.  Gravity will grab anything it can to make your photo look fake.

Halloween Organ Concert Ideas

I am often asked for repertoire ideas for Halloween Organ Recitals.  It is not that difficult.  Take any melody in a minor key, play it with a four foot flute in your right hand, maybe with a mutation, and with your left hand, do a slow palm glissando on both black and white keys with strings or softer flutes. Here are several songs I have played in the past:

Postlude Sollenele
https://youtu.be/aI2C6HZ2Khs
http://youtu.be/zDB6DmhE2LM

Night on Bald Mountain
(gasp, I can't find my vid)

Toccata and Fugue in D minor
http://youtu.be/TkjF2Vtzwjs

Chopin Prelude
http://youtu.be/WQlLgkAIkiI

Moonlight Sonata
http://youtu.be/dGxp_VYoMt8

Chopin Mazurka
http://youtu.be/lRIB7smyod8

Little Prelude and Fugue in G minor
https://youtu.be/r63p3WpF2UU

Addams Family
http://youtu.be/218Mw7kWI_g

The Munsters
(gasp, I can't find my vid)

London Bridge (because there are human sacrifices in each pillar - orphans)
https://youtu.be/8boxn3xvspw

Itsy Bitsy Spider
https://youtu.be/dbmLEB-3Bgg

Hall Of The Mountain King
http://youtu.be/hPYvKmGpY7c

Boellemann Toccata
https://youtu.be/qBhTWO4uhfg

The Lost Chord
https://youtu.be/L8u1BiruUaA

Flight of the Bumblebee
https://youtu.be/rzw1j0fEXoQ

March of the Marrionettes
http://youtu.be/2NgT1QMBIyo

Couperin Fugue
http://youtu.be/CKn73dPoCns

O Fortuna/Phantom of the Opera
https://youtu.be/yoV-CLYg10E

Variations on a Recitative Schoenberg
(gasp, I can't find my vid)

Ring Around the Rosie (about the plague)
https://youtu.be/Q4rgPlnQQgE

Organ Concert; Flight of the Bumblebee

Free organ concert with Malcolm Kogut at Foothills Methodist in Gloversville.  June 3 at three. Free.  Here is a sample (Flight of the Bumblebee):

Point Of Sound

One of the causes for strain, stress, injury and other maladies pianists, organists and typists experience is simply that they press too hard into the keybed of their device or instrument. Let's first take a look at sports and then physics (that HS subject you think you don't use in real life). 

As a baseball player stands at home plate and the ball is hurtling toward him, he back-swings, forward swings, hits the ball, then all the energy left over from the swing dissipates into the follow through.  The same action occurs when an athlete swings a tennis racquet, kicks a ball, swings a golf club, punches someone, throws a ball, etcetera.  That is Newton's third law of physics that every action has an equal and opposite action.  In order to forward swing, one must first back swing.  Even when we walk forward, as one leg is extending up and forward, the other leg is pushing backward.  So according to the laws of physics, in order to type or play the piano down, one must first lift up.  Many of us were trained or taught to play or type from a resting and relaxed position which actually creates tension because holding a position requires effort.  So we know that everything requires an opposite motion and a follow through.  I bet all you smart kids out there know exactly where I'm going with this.

Now imagine that our baseball, tennis, soccer, golf, football players or boxers are standing before a concrete wall and they backswing then forward swing but instead of hitting an object and following through, they strike the immovable wall.  All the energy of the swing, instead of following through and dissipating, ricochets back into the athlete.  That can hurt. 

A piano is much the same.  Many pianists press into the keybed of a piano and not only does that fail to produce any more of a tone but, all the energy of pressing down is being transferred back up into their finger joints and tendons.  We often don't notice this until after an hour or so of practice or the next morning when we wake up with stiff fingers.  We are taught by bad teachers "no pain, no gain."  In this case, it is very much a lie.  No pain, no gain is fine when building muscle but not for bones, joints, tendons, ligaments and certainly not for our technique.  Often poor technique, strain or missed notes are a result of what we are not doing rather than what we are doing and often we are using the wrong muscles.

Sit at any acoustic piano and very slowly, depress a key so you don't play a sound.  At some point you will hit a little bump in the action, then press through it and you will hit the keybed.  That little bump is the point of sound once you actually play. 

As a pianist drops the controlled weight of their arm onto a key, they must use Newton's third law.  As they hit the point of sound, much like an athlete striking a ball, they must then follow through without hitting the keybed.  When they press into the keybed, not only is their energy backfiring but, they are pressing down and according to Newton, we can't set up for the up motion if we are pressing down.  This hinders technique.  You can't play down if you don't play up and you can't play up if you are pressing down.

So, the key and cure to playing without tension or pain is learning to play to the point of sound and simply following through and not pressing into the keybed.  Unbeknownst to most teachers, their students press into the keybed.  It is a motion that is often invisible.  When a student experiences problems with technique or pain, the teacher often says practice more or run exercises to build strength and endurance and the teacher is often oblivious that the way the student practices is what needs to be addressed, not a clock.

Danger Will Robinson. Before anyone tries to learn to play to the point of sound, there are other components of technique which must first be in place.  This includes controlling arm weight, controlling up/down, controlling in/out from the shoulder and elbow, using the fulcrum of the elbow, controlling rotation of the forearm through the use of the pronator and supinator muscles.  Likewise, there are movements to avoid such as abduction, curling the thumb under the palm, isolating a finger, equalizing fingers, radial and ulnar deviation, and trying to play too relaxed, still and quiet.

A virtuoso technique looks like it is effortless and relaxed.  That is true, the fingers are relaxed because the arm does all the work.  Observers are often looking at the pianist's hands and fail to notice the elbow and arm is actually doing most of the work.  Pianists who attempt to play from the fingers and have fatigue, are told to relax so, they relax the same muscles they are continuing to use and they achieve nothing.

Once all of the proper motions are achieved and the improper ones eradicated, point of sound will just happen. Some "techniques" such as the Russian Technique, surreptitiously imbue the pianist with these movements but personally, I would rather learn the physics and ergonomics of movement rather than being tricked through mindless imitation.  Although, it works to some degree. Where it fails is when a pianist encounters a passage they can't execute and if they knew the mechanics of the arm, would be able to figure out what sort of adjustment is required to play that passage.

I once studied with a leading concert pianist in my area who didn't know what he was doing but had a phenomenal natural technique.  His instruction to me was to watch him play then imitate his motion.  That would have been fine but I already had bad habits hardwired into my brain which were getting in the way.  Since he didn't know anything about ergonomics nor physics, he had no idea how to fix me other than prescribing "practice more."

I once gave a lecture on this topic and a pianist disagreed with me about Newtons third law citing that the piano is down, not up.  The finger must come straight down onto a key.  If the pianist is playing with a "still and quiet hand" and they must also play black keys,   note that the black keys are higher than the white keys.  This results in the still and quiet pianist to stretch or twist to reach those keys which in turn create vector forces or, two muscles pulling one bone in two directions simultaneously.  This creates tremendous imbalance in the arm which controls the hand and fingers and this leads to an incoordinate technique.  Keep in mind your fingers have no muscles.  They are moved by the flexor muscles in your forearm so that is where the pianist must first play from. 

If you were to walk up stairs, your ascending leg would lift HIGHER than the next stair, then come straight down onto it.  If you tried to walk upstairs without lifting your foot higher than the step, you'd trip.  Playing the piano is the same.  We must use the larger muscles of the arm to get the fingers higher than the notes we are desirous to play.  Of course as we become more efficient, we minimize the height but make no mistake, although it may appear invisible, it is still there. Hanon knew this and prescribed the pianist to isolate one finger and lift it high but, this isolation engages the flexors and extensors at the same time resulting in strain to the long flexor tendons which leads to median nerve entrapment (AKA carpal tunnel syndrome). Remember the arm, hand and fingers can only move in one direction at a time.  By abducting, for instance, the hand gets pulled in two or four directions despite the pianist trying to play a passage in a specific direction.

I have no conclusion to this post other than don't try this at home.  Find a teacher who knows what a pronator and abductor is and work from there.

Musicians Warming Up

Every once in a while I come across a piano teacher or musician who think that they need to stretch their hands or run scales to "warm up." The myth behind warming up is that you are able to isolate a body part such as the hands and move them to warm them up.  If that were true, the blood that you think you warm up in your hands while moving them, because of circulation, doesn't stay there.  It circulates throughout the rest of the body meaning "cold" blood is coming back into the hands.  Furthermore, you are not warming up the blood or muscles, the blood is already at its maximum temperature.  The real issue is circulation.

A danger in moving cold hands or other body parts is that the elasticity of the muscles and tendons are compromised because they are in a contracted state and if you try to move cold body parts fast, you can cause damage to the tissue such as micro tears and pulls to either the muscles or the tendons.  Slow movement and in the medium range of motion is always advised when the extremities are cold.

When the body is cold, the blood is kept near the core vital organs and circulation is slowed to the extremities such as the hands and feet. That makes our hands and fingers feel cold and stiff.  Stretching is not a solution and our teachers and coaches have been teaching this mistruth about stretching for years.

When you stretch beyond the mid range of motion you are creating micro tears in the muscle tissue or tendons and the body's response is to rush blood to that site to both immobilize and repair the damage.  This process gives us the sensation of "warming up" when in reality we are damaging our tissue structures. Whenever we move, we must only move as far as the mid range of motion, not the extreme where we will stretch, tear and damage tissue.

There are actually two categories of muscle, fast twitch and slow twitch.  Musicians should take the time to learn which ones are which and how to utilize them in their craft.  Even so, forcing fast twitch muscles to move fast or to stretch them when they are cold and in their contracted state could damage them.  Think of your muscles as being like warm gravy.  The gravy can easily pour out of the bowl when it is warm.  Now put the bowl in the fridge for half an hour and note that it no longer pours fluidly.  You can't just run a spoon through the gravy to warm it up, it needs to come out of the fridge and be warmed totally.
  
If you have a teacher or coach who prescribes stretching and isolation exercises to warm up the body, find another teacher.  It is not their fault that they have been given erroneous information themselves from their own teachers, but, their ignorance on the subject can cause you permanent damage.  Ignorance is not bliss if it results in tendon, nerve or muscular disorders.  That is like going to a mechanic who says that your tires are bald but you can probably get away on them for another few months. He may be the best mechanic in the world but he is risking your life.

If one wishes to truly warm up the body and consequently the hands, one needs to sit in a warm room so that the whole body warms up, not just the part they are going to use.  Another solution is to do some mild whole body movement to get the blood pumping throughout the circulatory system.

There are mini steppers on the market for under $50 that a musician can take to a gig with them and use in the green room before a performance. After doing twenty minutes or about 2,000 steps on one of those, the blood will be circulating efficiently throughout the whole body and one may even break a small sweat.  You won't have to warm up your legs because you've already been walking all day and, movement that is well known such as walking is as simple as the brain turning on and off a switch.  One doesn't need to warm up to remember how to ride a bike.  The brain just knows what to do, like flicking a switch.

Conditioning is important, too.  If you can only do three minutes on the stair stepper before fatigue sets in then you're not going to achieve a full body warm up in that amount of time so, it would behoove you to do this every day so the body is conditioned to work at that level without fatigue.  One doesn't want to go on stage exhausted and weak.  It is also advised to be hydrated before, during and after this simple body warm up procedure.

I'll not endorse any particular brand but you can find mini steppers on Ebay, tax and shipping free. Read the user reviews on Amazon to find a brand you think you can trust.

stair stepper, warming up, pianist, musician, stretching, piano, malcolm kogut, tendonitis, hand, injury,