PLAYING WITHOUT ANY PAIN OR DISCOMFORT: part two
March 17, 2017
We create the circle as in the first experiment, but now the point of contact between the two hands are the tips of the second fingers. While in the first experiment you joined the hands together by interleaving all the fingers, you still have a complete circle, just as solid and integral as before, though there is an isthmus where only the tip of one second finger lies on top of the tip of the other second finger. Pretty much the lower surface of one finger, from the first knuckle to the tip, is lying on top of the same part of the other second finger. It does not matter which finger is on top and which is on bottom. In fact, it is better if, in what follows, you proceed in a way where you are indifferent to which hand’s finger is on top of the other.
Use this version of the arm-circle to play a single note. We’ll take middle C as an example. Play the note a number of times. Try to notice that you are unaware of which arm or finger is doing more than the other. It is the conjoint action of the two fingers (and the two arms) which depress the key to make a sound.
As with the first experiment, there is little that could happen that would produce strain or discomfort in any muscle within this circle when including the muscles in the second fingers.
Once you have established this basic method of making a sound, we gradually introduce variations, but in such a way that we never loose ‘touch’ with the integrity of the entire circle of the arms.