Adaptive Strategies for Small-Handed Pianists

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.

Lora Deahl is Professor of Piano and Keyboard Literature and Associate Dean of Curricular and Undergraduate Issues at Texas Tech University.Lora Deahl is Professor of Piano and Keyboard Literature and Associate Dean of Curricular and Undergraduate Issues at the Talkington College of Visual and Performing Arts at Texas Tech University. She is recognized for her solo and chamber performances throughout the U.S., Asia, and Latin America as well as pedagogical and scholarly articles in international and national journals of music. Recipient of the Chancellor's Council Teaching Award from Texas Tech University and the Outstanding Collegiate Teacher Award from the Texas Music Teachers Association, her students hold teaching positions around the world.
Brenda Wristen is Associate Professor of Piano and Piano Pedagogy at the University of Nebraska-Lincoln. She is recognized for her research on the biomechanics of piano technique and varied aspects of musician health, and has published in numerous journals in the fields of piano pedagogy, music education, and performing arts medicine. She is a frequent presenter at international and national professional meetings.

ForewordAcknowledgmentsKey to Abbreviations and Graphic SymbolsChapter 1: Understanding Small-HandednessDefining the Small Hand1 Demographics of Small-Handedness1 The Evolution of the Modern Piano and Its Relationship to Small-Handedness2 Historical Background 2 Ergonomically-Scaled (Reduced-Size) Piano Keyboards 1 Pedagogical Misconceptions About Small Hands2 Selection Bias and Other Gender-Related Aspects2 Attempts to Stretch the Small Hand1 Small-Handedness and Injury1 The Role of the Teacher1 Conclusion1 Reflection PointsChapter 2: Fundamental Principles of Movement and the Playing Apparatus 1 Principles of Work Efficiency1 Principles of Movement2 Leverage2 Newton's Laws and Piano Technique2 Muscular Contraction and Release2 Additional Characteristics of Movement Economy2 Planes of Motion2 Neutral Position at the Piano1 The Parts of the Playing Apparatus2 Torso 2 Shoulder and Upper Arm2 Forearm2 Wrist 2 Hand and Fingers1 Conclusion1 Reflection PointsChapter 3: Technique and the Small-Handed Pianist1 Maladaptive Tendencies2 Fatigue2 Power 2 Reach1 Lexicon of Fundamental Facilitative Techniques for the Small-Handed Pianist 2 Avoiding Fatigue3 Timing Muscular Releases3 Using Levers Appropriately3 Cultivating Finger-To-Elbow Alignment3 Combining Basic Movements into Larger Gestures 3 Reducing the Amplitude of Movements and Gestures2 Producing Power3 Maximizing Key Speed3 Transmitting Force Through Skeletal Structures3 Using Arm Impulses2 Addressing Large Reaches and Distances3 Using the Arm to Navigate Distances3 Using Passive Spread 3 Using Vertical Spanning 1 Boundaries 1 Conclusion1 Reflection PointsChapter 4: Redistribution 1 Uncrossing Parts1 Eliminating Stretches in Chords and Arpeggios1 Facilitating Leaps or Hand Shifts1 Increasing Accuracy, Power, and Control1 Maintaining More Neutral Hand and Wrist Positions1 Facilitating Trills and Tremolos1 Maintaining Legato and Line1 Projecting Harmony1 Conclusion1 Application ProblemsChapter 5: Refingering 1 Fingering and Hand Size1 Encouraging Compact Hand Positions2 Chords2 Arpeggios, Broken Chords, and Melodic Intervals2 Consecutive Double Notes and Octaves2 Readjusting the Hand to a More Compact Shape2 Playing Seconds with the Thumb Alone2 Using Non-Consecutive Fingerings2 Playing Trills1 Repeating the Same Finger to Recover Space in the Hand1 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 Position1 Moving Longer Fingers over Shorter Fingers1 Substituting the Thumb for Inner Fingers1 Using Positional Fingerings to Achieve Maximum Speed1 Substituting One Finger for Another on the Same Key1 Retaking Released Notes Silently1 Conclusion 1 Application ProblemsChapter 6: Maximizing Reach and Power 1 Covering Large Distances2 Applications of Either Oval or Fan-Shaped Gestures2 Applications of Oval Gestures2 Applications of Fan-Shaped Gestures1 Facilitating Large Reaches 2 Applications of Passive Spread2 Applications of Vertical Spanning2 Applications of Passive Spread in Conjunction with Vertical Spanning1 Dividing or Rolling Chords2 Consecutive and Non-Consecutive Divisions or Rolls2 Simultaneous Divisions or Rolls1 Releasing Notes2 Releasing Notes in Chords and Multi-layered Textures2 Releasing Notes in Melodic Intervals, Arpeggios, and Broken Chords2 Releasing Notes in Broken Octaves1 Using Rotation for Power 1 Taking Advantage of Skeletal Support 1 Playing Staccato Chords and Octaves2 Repeated Chords and Octaves2 Traveling Staccato Chords and Octaves2 Legato Octaves1 Grouping Notes into Larger Gestures1 Omitting and Revising Notes1 Conclusion1 Application ProblemsChapter 7: Musical Solutions for Technical Problems 1 Legato2 Legato in Widespread Cantabile Melodies and Arpeggiated Accompaniments2 Legato in Octave and Double-Note Passages
1 Fortissimo Playing1 Pedaling2 Damper Pedal2 Sostenuto Pedal1 Voicing1 Rhythmic Inflection, Tempo Modification, and Rubato1 Gestural Shaping1 Conclusion1 Reflection PointsChapter 8: Integration and Exploration 1 Diagnosis and Integration1 Exploration1 Closing ThoughtsGlossary of TermsBibliographyList of ActivitiesList of Examples Lists of FiguresList of TablesIndex