May 30, 2018
In terms of its use in the playing mechanism, the elbow can easily be the forgotten part of the arm. It is remote from the hand and remote from the connection of the arm to the back. It seems “remote from the action.” However, it is of critical importance as a mediator – a negotiator between shoulder and the fingers. It is that which insures that energy coming down the arm is not blocked or detoured before reaching the fingers.
When tension occurs and mobility is reduced, the hidden cause often lies in the elbow. It will often make adaptations in its alignment, not because they are useful to the transmission of power to the hands, but because we are concentrating on our hands and wish to have the hand be in a certain position. The tension simply gets “referred” up the arm to the elbow, where we are often unaware of it. But whether recognized or not, when there is tension in the elbow, when its freedom of movement is inhibited, we sever the free connection between shoulder and fingers.
Often the elbow is doing what it “wants” to do, but is at the service of something else. How do we find out what the elbow naturally wants to do? It is actually a simple procedure. If we want to know what the right elbow is doing, use the left hand to embrace, or better, to “cradle” the elbow of the right arm. If we now play a passage with the right hand, the cradling hand will actively sense what the right elbow wants to do, or more importantly, what it is forced to do in order to accommodate an awkward hand or wrist position. It will notice when the elbow is coerced into making a sudden or jerky motion, usually to compensate for something occurring at the extremities.
If there is a sudden, unexpected or awkward motion in the elbow, we will want to smooth it out, or slow it down to make it flow. By keeping in mind that the hand and the shoulder should be two stable points between which is extended the length of the arm, then the elbow modifies its alignment and attitude to find a way of sustaining this equilibrium between the two end points of the arm. If there is a breach in the continuity of the arm, it is most likely found in the elbow because the elbow controls the motion of both the forearm and the upper arm.
Most illuminating in this regard is to play a scale or an arpeggio.
When you play a scale in the right hand, you may be surprised at what the elbow is doing as you play the scale. It compensates for, it balances out, it supports what is happening in the lower arm and hand. If a sudden lurch occurs in the elbow while playing the scale, it is easy to smooth out, especially if the left hand is there cradling the elbow (see above). The supportive hand of the left arm is, figuratively speaking, saying to the elbow: don’t worry, you don’t have to make a sudden defensive or reactive gesture, because I’m here to support, balance, and give you a grounding against which to move.