The largest possible ambit of motion

May 7, 2018

The muscular movements used in piano playing, in particular of the fingers which are at the extremities of the body, tend to be limited in scope and range.  However there is an advantage to exploring the full range of motion that is possible with every joint – be it a knuckle, a wrist, an elbow, a shoulder, or the body as a whole.

For purposes of illustration, consider the example of the third knuckle of the second finger.  We can ask what sort of mobility is available to this finger when the motion of the finger stems just from the flexibility in the third knuckle, unaided in any special way by the other two knuckles.

We find that flexing at the third knuckle allows the finger:

1) to move vertically up and down, and

2) to move horizontally, (touching the third finger on one side and reaching in the direction of the thumb on the other side).

What are the limits to these two motions?  Can these limit be exceeded through hyper extending?

What if we combine the linear movements of the finger up and down and side to side, and try to move the tip of the finger around in a circle?

We have no difficulty describing a true circle.  A little exploration though shows us that at some points along the circumference of the circle, the body allows the radius of the circle to increase, though at other points in the circle the body will only tolerate a smaller radius to the circle.  If, at each point around the circle, we move the finger to the maximum possible distension from the implied center of the circle, the result is a rather erratic looking circle, one whose perimeter bulges and contracts.

Another way to envision this same motion is in three dimensions.  The length of the finger sweeps out a three dimensional volume.  Instead of a wobbly circle, we get a wobbly cone.

Is it worth exploring the full mobility of a joint when we rarely use it in practice at the piano?

Before using it to play a note, the finger will be at rest relative to the rest of the hand.   However, there is a difference in feeling between a finger at rest which is “ignorant” of all its possible motions, and a finger, even while at rest, that feels within it, immanently, all the motions and directions in which it can move.

There is an advantage for the finger to know its full potentiality of motion.   If the finger at rest holds its position stiffly, there is little potential of action.  If the finger at rest is ready to move in any and all possible directions and degrees, it will respond with the greatest alacrity and control when playing.

We want to cultivate a state of the a finger that, though not at the moment moving, feels that the most vagrant breeze could set it into motion.  Just a breeze; just a thought, just a whim, is sufficient to set the finger into motion when, because there is no inertia to overcome before it starts moving.  We want as little resistance to motion in any direction.

Though the limit of the range of the finger’s ambit, when it comes time to play, may not be fulfilled, it will retain the feeling of the momentum of the entire potential of movement.  This will be a more confident, well directed and energetic finger.

Generalizing to all parts of the body:

What we have said here about the second finger, and its third knuckle, can be applied to every articulation point in the playing mechanism, (including rotational motions*).

Regardless of the part of the body, if it can move, we should actively explore every plane of motion of which is capable, every plane in all three dimensions and to every permittable degree. This is a healthy body part, ready to move, who knows how far, at the bidding of least, vagrant stirring of a breeze of intent.

A genus is more robust than a species:

Every time we flex the finger the same way, we are digging a deeper ditch into which the finger is constrained to move (like a slave only allowed to move only in one direction and to an extent).  However, the finger which is no longer being coerced into a single type of motion and can move in all ways, when the moment comes to play a note, will have the freedom to make one choice among many.  One choice is a compulsion, two choices is a dilemma.**  Three or more is robust and free.

It is like the difference between knowing just one species in a genus, and knowing the full ramifications of the genus to which it belongs.  If you know just the species then you have a limited idea of the underlying whole, the whole that is here expressing itself in some individual way.  Connecting the species to the genus gives a richer, informed, and liberated identity to the species in question.

At the piano, all motions should be possible at the next instant in time.

* yes, even a finger by itself can rotate slightly around its longitudinal axis.

**thanks to my friend Roy for this interpretation