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Zones Zone operations are made directly in the full article text panel located to the left. Tables Tables. Loading article contents, please wait Line 0. William Anderson. Children, Half-price,. Day Sales at White Rose, Pitt-. Motors, Bicycles, etc. Extra Strong for Rough Country Use,. Write or call. Henderson's Cycle and Motor Works, Henderson's, 40 and 42 Park-street. W terms. Henderson's, 40 nnd 42 Park-street. In the Will of ANN. Application will be made.
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Line 1. Toplady -. AineH ' -a. Hospital, and. World's Champion, v. Auslralai-ian Champion. Under B. Reserved Seats, If extra.. Roval Hotel. Town-hall, Next Sunday. Line 2. Borwick'a F'arewell Concert with the.
Borwick'a visit, will long bo remombcrcd ss. Bach and Mozart interpreted by ,l lm. It is not his tech-. Such artists are rare indeed; and we. Borwdck will before long And his. Schubert Luzt. James's-hall classes, as usual. From the creators of SparkNotes, something better. Literature Poetry Lit Terms Shakescleare. Download this LitChart! Question about this poem? Ask us.
Where this theme appears in the poem: Lines Cite This Page. La radicalidad anti-ilusionista y el fuerte compromi- tas aprendidas de Artaud.
Junto a la idea del teatro como rito y como trage- En la propuesta final casi no hay texto. Es un retorno hacia una memoria concreta. Se trata entonces de realizar un acto concreto Grotowski, " La co nferencia de Skara" , o. La histor ia del teatro nos lo co nfirma. No es en la obra literaria donde reside la parte cre adora del teatro.
Apocalipsis COIl fi guras. Wroclaw, J El palabra". Se trataba desde un princi pio de construir un lenguaje que no fuera el de texto es un ins trumen to para el actor inmerso en ese proce so forma l: " El texto es las palabras y que no significara del mismo modo que las palabras. Pero lo import ante es co municar, y lo que Grotowski pre- se desarrollaba media nte acciones.
Gro tows ki aclara este punto con un ejem plo caso, con las limit aciones qu e Grotowski percibe tanto en el natur alismo como contunde nte: al interp retar el papel de Virgen, se puede interpretar la maternidad, en los len gu ajes co rpo rales der ivados de Meyerhold o Dalcroze.
Barba y J. Grotowski, "E I nuevo testamento del teatro" Grotowski, Hacia un teatro pobre. Siglo XXI. Journal, , vol. El protagonismo En Akropolis, de Wyspianski , y en Dr. Ouakn ine , " Le Prince Co nstant" , en J.
Jacqu ot ed. Pero en buena parte se trata ' " E. El resultado. Grotowski, "Actor santo y actor cortesa no" entrevista de E. La presencia de lo musical es tan fuerte, que S. Es cierto que el texto, por su propia estructura de teatro dentro del teatro y del encuentro de Artaud con Brecht y de Brecht con Beckett. Pera Brook: o theatrical casebook, Methuen. Brook , en D. Igualment e interesado por lo intercultural , E. Odin Teatret. Con los ind ios Yanomani. Jacquot ed. No conoce el enig- Brook o Tadeusz Kantor, que siempre eligieron el escena rio de La Mama en sus ma de la esfi nge.
No es que pensara que las palabras debieran ser eliminadas. Milano, Muy habitualmente se recurre a la visaciones. Los actores volvieron a intervenir sobre Macbeth, los actores colocan las hojas sueltas del texto original sobre el suelo y ese texto e introdujeron modificaciones, que afectaban en este caso al estilo, y ya comienzan a subrayar las frases que les parecen interesantes, al tiempo que dis- no a la estructura.
Schechner, dire ctor al mismo tiempo de Th e Drama Review, pero no el dominante. La co, que condujo finalmente a Chaikin al abandono del teatro. Laing, como "una Theatre , el Om Workshop Jacquot, "Th e Scrpent. El arte se transform a trabaj o y las ideas de Cage y Cunning ham. Su magis ter io , sin embargo , es asu mido por ot ros qu e teatro de hoy" , en la medida en que el intercambio de frases entre los actores empre nde n caminos interact ivos.
En el caso de los seg uidores de Ann Halpri m: sobre el escenario olvida ba la presencia del espectador , reducido al silencio. Comentando El grito de la gente po r com ida, B. Esa carga de ex perienc ia que transmite el gesto es lo no- go entre Brec ht y Arta ud. Entre g ias reteatr al izantes. En , Peter Schu man n funda e l Bread and Pup pet. Exp erime ntal Theutre. Rout lcdgc , Londres, Como Els olvidado , hace concretas las cosas. Mnouehkine a la revista Fruitx.
Lo mismo cabe dec ir de los objetos. Kantor, El teatro de la muerte , ed. Buenos Aires. En ese esp acio, lo insignificante prolifera, se desarrolla, sale una y otr a Tadeusz Kantor. Wielopole , Wielopole. Craeovia, Pero en los despojo s hay una vida que es preciso mantener, aunque sea en el movimiento de la mem ori a. Se trataba de "conservar s. Todo se embro lla y de viene incomprensibles". Kantor Craco via , Bablet ed. Tadeus: Kantor 1, C. Kantor, Teatro de la muerte , ed.
Kantor, " Extracto del camet de director de escena" , en D. Bablet, o. Bablet , o. Kantor, o. Wupperthal, El acto cuarto nos descubre un nuevo H. Genet y Artaud. Hein er Miiller DDR. Ein Arbeitsburh, Hentrich. Al mismo tiempo que H. Quitarme las manos de enci ma. Bailar agarrado dos hombres. Juegos sexuales. Aluci nar. Esperar a alguien. El que quiere, tiene. Preparativos para la pelea. Sobarse a esco ndidas. La palabra evoc a el movi- miento y garantiza una imagen cargada de experiencia.
Lo que le Pi na Bau sch. Wuppertha l, Se la soledad Los espa- clases. Abrahms, Inc.. Publishe rs, Nueva York, , p. Mounier, "L e monde de Robert Wilso n" , e n O. Esa reali- longitud. Aunque a veces leo los textos antes de descomponerlos'? El resultado, en de las nubes , de l amanecer'? El lenguaje estaba realmente vivo. En Una carta a la veces se superponen dist intas enunciaciones de la misma frase en diversos idio- reina Victoria 4 , Wilson hace por primera vez un uso importante de la mas. Pero los textos son de Knowles.
Numero las frases para seguir un ritmo , sin saber si es un hombre o una mujer , un joven o un viejo. De una mirada puedo ver el texto ente ro. La mirada del sordo. Nueva York, XV I; C. Mo un ier, o. Wilson , cit. Moun ier , o. Fairbrother , o. Shyer, o. En Einstein en la playa , la luz, el movimiento, el tro. Los te xt os se fue ro n e laborando y pr ob an do , sonido". Si sa le, es co rrec to.
En nume- lo devuel ve o se atra nca". En su interior, el como "espacios de significa do abier to". Wilson el pre- osc urecerlas. Son necesarias las contradiccione s". XV II. El uso de las voces es altamente pre desde el punto de vista inverso'? Esa comunista". Y entonces llega mi material , mis textos, que puede hacer uso de ellas a voluntad. Nosotros no interpretamos". El teatro, el arte , no es parte de un proceso revolucionario. Se trata de mostrar la diferencia. Y " Un director que entiende todo lo que hace, puede ser un buen director, la diferenc ia no debe ser resuelta.
Debe quedar algo en la sombra. Leihrnann , " Roben Wilson , Szenograph" , en Parkett , Bausch , en Hodge , o. Se trata, como observa Quadri, de un "texto men- de nuevo. Los procedimientos son diversos. Se trata, declara lisis para avisar de su inteligibilidad. Los significados del garabato o del esquema trazado a mano sobre el cuaderno. Los per- pueda [ Quadri y otros, o.
Teatral, Madrid, octubre , , p. El texto es un objeto enco ntrado, co mo lo son Thornton Wilder , o El crisol, de Arthur Miller, sea de ob ras escritas para la los elementos espaciale s o la experiencia de los propios actores. The Wooster Group. Rumstick Road. Nueva York. Performance Group desde Otra serie de elementos remiten al medio televisi- tales y asociativas.
Buena parte de los creadores que protagon izaron la escena con- Europa occidental, se instalaron definitivamente en Nue va York en Madrid , marzo Es interesante, por pasea por el parq ue. Blue Heak, Ih , Shank. American Alternati ve Theatre.
Martin's Press. Lauric Anderson , cit. Frente a ese retorno del arte corpo ral a la ima- " 'C i!. Sayrc, o. Como un hombre ciego. El homb re ciego siente el espacio. El artista debe ser igual, debe desarrollar todos sus sentidos en difere ntes modos'? Sara Malin a.
Tres disparos, dos leones. Femin ism and thc Art of Seventies". Say re. The object of Performance. CarroOn Edge. Perfo rmance al the end of the twentieth cem llr. La violencia aumenta cuando Fabre muestra casi al desnudo los cuerpos, a los que no permite realizar aquello para lo que han sido conformados. La similitud es la diversidad. El verdadero caos es el orden "Cierto. Nada de remordimientos, nada de arrepentimientos, nada de culpa, perfecto?
Meredith Monk estrena Atlas de sonido en El propio Fabre inicia con El cristal de graffas de los mismos por R. Hclmut Ncwton ' Carl de Keyzcr. Probablemen te los rios destinados a la danza. Rosas danst rosas , dirigido por Anne Teresa jos o patern alismos. Invictos , de Jan Lauwers , con dramaturgia Marianne van Abdoh, a pesar de la diferencia en los resultados.
J vol. Arena teatro. Murcia, 1, p. Hay piezas cuele por debajo de las puertas'". Es partic ularmente interesante que la actual factores es anterior al otro res ulta indiferente. El arte Oiga Mesa. Esto es mi cuerpo, Arena teatro, Murcia. La modesti a en el ejercicio Hernani.
Victor Hugo. Nikola i Gogol. Richard Wagner. Teatro de la Co rte de Dresde. Lord Byron I Charles Kean. Lond res. Teatro de la Corte de Munich. Rich ard Wagner. Henrik Ibsen. Teatro Real de Estocolmo. Henrik Ibsen I William Bloch. Emile Zola I Antaine. Strindbe rg.
Co penhague. Ibsen I Otto Brahm. Mauri ce Mae terli nck. Paul Fort. Loie Fuller. Ger hardt Hauptm ann I Otto Brahm. El espiritu de la tierra.
Franz Wedeki nd. Danza de una bruja. Mary Wigman. Teatro Vittorio Emmanuelle de Ancona. El hijo. La conquista de las estrellas. Teatro de Arte de Til Eulenspiegel, R.
La caja de Pandora. Ballets Rusos. Fuegos de artificio. Isadora Ounean. El mendigo. Incienso , Radha , Las Cobra s, Nautch. Ruth St. Munich La barraca de feria.
San Petersburgo 8 Misterio bufo. Santa Susanna , August Stramm. Gilbert Clavel y Fortunato Depero. Don Juan en el infierno. Georg Fuchs. Ifigenia en Aulide. Teatro Fausto. Teatro de los artistas. Ases ino, esperan za de las muje res. Guillermo Tell. Deutsches Theater. El mio rojo. Edipo, rey de Tebas.
Primera velada futurista. Teatro Rossetti. La Orestiada. Los hermanos Karamazov. Tap the pencil in alternation between the fingers, using a rhythm of four sixteenths followed by a quarter—note. Start slowly and gradually increase the tempo, writing down a record of the metronome numbers.
As we might expect, moving the 4 and 5 combination is more difficult, so here students need to pay special attention to any excessive tension in other parts of the hand.
Stabilizing the Finger Joint Along with the previous exercises which increase the awareness of finger independence, Mikimoto suggests stabilizing the finger joints. As she claims from her experiment with the rubber ball, the stabilization of the finger joints is very important for contact with the key.
Mikimoto also links weak finger joints to a lack of finger independence, both of which can cause many problems with unwanted compensation in other parts of the hand, wrist, and arm. The following exercises not only develop the strength of the finger joints, but at the same time increase the sense of control and feeling of finger independence.
In order to have stabilized finger joints, both extensor and flexor muscles of the fingers need the right amount of contraction. The first exercise is simple: 1 push each finger joint, 2 feel the force of the push, and 3 stabilize against it.
This exercise increases sensation in finger joints with the extensor muscles for the fingers. Exercise 5: Place a relaxed hand on the table and push and release each finger joint as shown in Figure 3— Then concentrate on each joint and keep it stationary. Be aware that it is common for the wrist to tighten when the joint pushes against the force of the finger pressing it.
While it is more obvious in small children, this weakness of the first finger joint can be found in many older students as well, causing them certain problems with tone production and excess tension.
In order to increase awareness and strength with this kind of weak finger joint, push from three different directions: from the top or front of the finger to control the extensor muscles, and from behind to control the flexor muscles. Exercise 6: Stabilize the second joint by pressing lightly, and use several fingers of the other hand to push against the first joint from different directions, either behind or in front of the joint, as shown in Figure 3— As you gently push from the front or back of the first joint, it should develop a quick resistance to the force of the pushing finger, without creating tension in other parts of the wrist, hand, or arm.
The goal of this exercise is to develop better control of the first joint. The following exercise is for the flexor muscles of the second joint. Again, this exercise increases the sensation of the finger joint and will also be very important for making efficient contact with the key in piano playing. Exercise 7: Place two rubber bands between the finger tip and first joint, or between the first joint and second joint.
Pull the rubber band as shown in Figure 3—14 a, then release the pressure. If there is no rubber band available, the other hand can be used as shown in Figure 3—14 b. Finger strength can be assessed by the degree of resistance present in the rubber band or the other finger for example, if the finger can hold position when being pulled.
The important thing in this stage of finger training is to gradually develop the sensation of a stable joint by pulling the object, feeling resistance, and not over—tightening. Over time, the finger should be stable yet well controlled, and should maintain its position.
If the finger does not have sufficient strength, it will be pulled or extended out of position by the directed forces as shown in Figure 3— If a finger joint has excess tension, the finger will curl in, as shown in Figure 3—16, when the force of the rubber band or the other hand is released.
The student must learn to control the kinesthetic sense needed to adjust to quickly— changing forces from the rubber band or the other hand. When the pulling force is released, the finger should stay in the same position, as shown in Figure 3— During this exercise, the third joint tends to tighten. While students exercise to stabilize the first and second joints, however, the third joint should remain flexible.
To find excess tension in the third joint, slightly add vertical motion, up and down, while pulling the fingers. If the finger is controlled correctly, students should be able to move it up and down from the third joint as shown in Figure 3— Stabilizing and Strengthening of the Fifth Finger Stabilizing the fifth finger needs extra attention. Not only children but also older students commonly have very weak fifth fingers. Even though students may master the coordination movements between arm rotation and finger movements, if they have weak fifth—finger joints, the transfer of force between arm movement and key resistance will be problematic.
Generally, a weak fifth finger means weakness in the third joint, which may result in a stiff wrist and even excess tension in the whole arm. Mikimoto says that the third joint the knuckle of the fifth finger must be stabilized to transfer the force from the arm movement and receive the key impact properly, without any excess tension in the hand, wrist, or arm.
In Figure 3—19 the down arrow represents force from the arm, while the up arrow represents key resistance. Mikimoto states that in order to stabilize this joint, students should train the muscle group beneath the fifth finger, referred to as the hypothenar eminence, which contains three small muscles: opponens digiti minimi shown in Figure 3—20 as letter P , abductor digiti minimi shown as letter Q , and flexor digiti minimi brevis shown as letter R.
Elson, The Anatomy Coloring Book. San Francisco: Benjamin Cummings, , Exercise 8: Place the rubber band around the first and fifth fingers, as shown in Figure 3—21, and raise the fifth finger, third joint. Excessive tension must be avoided in the wrists and other fingers in order to activate these small muscles. Even though it is very difficult to raise the fifth finger third joint, or even feel that part of the muscle, the muscle will gradually develop over time.
To do so Mikimoto suggests same relatively simple methods. As an example, students can wear the rubber band and exercise their finger while engaged in other common activities such as walking. She believes that with constant awareness, the student can begin to move it independently, and this will help stabilize the third joint of the fifth finger. The second exercise to develop these small muscles is the opposite movement, which is an inward motion in the third joint of the fifth finger.
Exercise 9: The training can be done with a rubber band as in the previous exercise. Place rubber band between the first and fifth fingers as shown in Figure 3— This is different from the previous exercise; the rubber band should be placed above the third joints of the second, third and fourth fingers. Then place the palm on the table facing upwards, and raise the third joint of fifth finger about 1 cm, as shown in Figure 3—23b.
At first, the joint should not be lifted too high, or excess tension of the wrist may occur. A small movement may be more effective, as long as the small muscles beneath the fifth finger are properly activated and recognized by the student.
Once students properly recognize these small muscle movements, Mikimoto suggests that students next develop their muscle strength by using a weight. Exercise As in the previous exercise, place the hand on a table with palm side up, and place a small bag with weights inside between the second and third joint of the fifth finger.
Then lift the weight using the same muscle as in the previous exercise, as shown in Figure 3— In this exercise, students again must be aware of which muscles to use when lifting the weight. The entire fifth finger should be lifted from the third joint, as shown in Figure 3— If the first two joints are in a curled position as shown in Figure 3—25, this indicates an show improper usage of the flexor muscles in the forearm.
Mikimoto found that an untrained muscle group may only be able to lift g, but after a period of training around 6 months , a strengthened muscle group can lift over 1kg. For additional strength training of the fifth finger, Mikimoto suggests lifting the weight sideways with the same muscles. Exercise With the back of the hand facing the body, place the weight on the second joint of the fifth finger as shown in Figure 3— Then move the fifth finger up away from the fourth finger.
Since this motion is very unfamiliar to most students, they may not be able to lift the fifth finger at all. Mikimoto recommends that students start training this side motion by moving the fifth finger away from the fourth finger without the weight, or by first using a rubber band. Exercise Hold the second and fourth fingers with other hand, then open the fifth finger away from the fourth finger, as shown in Figure 3—27a.
Hold seven counts and release. As a variation of this exercise, put a rubber band around the second and fourth fingers, as shown in Figure 3—27b, then open the fifth finger away from the fourth finger. Hold 7 counts and release. In either scenario, students must pay attention to excessive tension in the wrist, which can be checked by moving the wrist sideways with the other hand as the fifth finger holds its sideways position.
Different hand shapes may result in differences in finger joint strength. She has observed two common contrasting hand shapes as shown in Figure 3—28a and 3—28b in her students and other pianists whom she has encountered. According to Mikimoto, many students find it difficult to achieve individual joint control. However, neglecting joint—training exercises creates bad habits with unbalanced tension in the hand and other parts of the arm. When students repeatedly practice the piano with tense wrists and knuckles, the upper part of the flexor muscle in the forearm often becomes tense.
This results in many common endurance problems, such as the feeling of forearm fatigue while playing a long etude with continuous figures. Mikimoto believes that when students find weakness in their finger joints, they should not overlook it.
She recommends consistent awareness and finger—joint training. She then started to use this finger—board with many of her students, and discovered great improvement in their finger development. Mikimoto found that it is often difficult for students, especially beginners, to understand the relationship between finger movement and sound production at the piano. But on the finger—board, they are able to vary finger strength because the stable unmoving surface will better focus concentration on the fingertips.
For instance, students can start lightly and then gradually increase the force of the finger movement, thereby feeling how much force can be tolerated without bending the finger joints. First, I will discuss how to prepare the finger—board and several basic finger movements, and how to isolate finger movement from excess tension in the wrist and elbow.
One side is a flat surface where seven cylindrical pegs will be glued according to the following procedure. Using the marks as a template, evenly space six of the seven pegs across the side of the finger—board without the screw holes. The fingertips of both hands should cover five of the six evenly spaced pegs with one peg as a gap between the thumb and index finger.
This gap will obviously be on opposite sides for the right and left hand. Then paste the seventh low peg on the left inside as shown in Figure 3— Tap the finger against the finger— board, and allow the nail to lightly scratch the side of the peg as the finger descends down onto the finger—board.
This gives some sense of resistance against the fingers, which is later experienced with the action of the piano key. For kinesthetic reasons, it is important not only to develop the movement of the fingers, but also to experience the sensation of touching the peg. Exercise Hold the finger—board with one hand or place the finger—board on a table or desk.
Rest fingers in a curved position in front of the pegs, so that the knuckle the third finger joint , wrist, and elbow sit at the same horizontal level.
From 1 centimeter high, the finger should drop down quickly and lightly scratch the peg, as shown in Figure 3— This scratching action simulates, to a lesser degree, the resistance of the keys. If all three finger joints are not properly used together, the first and second joints will curl up, as shown in Figure 3— It is essential to understand which muscles control the finger movement, because a common problem arises in the scratch exercise when students use the first and second joints instead of the third joint as the primary mover.
At first, move just one finger, scratching down multiple times using the rhythm of four eighth notes followed by a half note. When the finger touches the board, try to concentrate on the finger tip and produce a light knocking sound. Fingers with weak joints generally have difficulty in making this light knocking sound.
The tip and second joint of the finger should be stabilized like one solid stick or bar in order to make this sound. Students can check the stability of the finger right after it touches the board by pushing lightly against the first joint with the other hand.
Even though the finger appears to be stable in position, the first joint of the finger may be very weak and will be flattened when it is lightly pushed, as shown in Figure 3— Finger Exercises and Over—use of Large Muscles The sensitivity and fast movement of the finger will be properly developed by controlling the small hand muscles located between the fingers as shown in Figure 3—34, which are the lumbrical marked by the letter U and interosseous, marked by the letter V.
Many finger—board exercises are designed to activate and increase awareness of those small muscles. Even though many students are able to play a great number of pieces mainly using other larger muscles in the forearm, their sound can become very harsh, and it is very difficult to bring out different nuances and colors.
There is also the danger that their technique will decline dramatically as they grow older. Mikimoto believes that this tendency of overused muscles is caused by earlier training in which excessive tension in the hand, wrist, and arm is not correctly detected. In order to achieve all—around muscle development, especially in those small muscles, and not create an imbalance between the large and smaller muscles, it is important to avoid excessive tension in the early stages of training.
By means of finger—board exercises, especially the low peg exercise, Mikimoto found that students can detect their own tendencies and bad habits with finger movement, along with overuse and tension in the wrist and arm muscles. This awareness of excess tension enables them to better develop the small muscles in the hand.
Detecting Excessive Tension in the Wrist and Elbow In order to develop the correct sense of finger independence, almost every finger movement on the finger—board must be isolated from excessive tension of the wrist and elbow. Use the other hand to move the finger—board slightly up and down while doing the scratching exercise or any other exercises as shown in Figure 3—35 The force for the wrist movement should come from the other hand, not from the wrist itself.
The scratching motion and its sensation must be consistently independent from the wrist movement. If the scratching is difficult or feels forced when the wrist is moved, this is a sure sign of excess tension.
Excessive tension of the elbow can also be recognized by pulling the finger—board out from underneath the hand during the low peg exercises. If there is unwanted elbow tension, the arm will not drop and the hand will stay locked in position as shown in Figure 3— Arm weight can be detected by the hand which holds the finger—board while executing the finger exercises.
If the wrist and elbow are relaxed and properly hold their position, arm weight can be efficiently transferred into the finger—board and some pressure can be felt in the hand holding the board. If students cannot sense their own arm weight while holding the board, then the teacher or another person can assist by holding the board and pointing out how much weight can be felt on it.
Mikimoto recommends another way to develop the sense of this weight transfer by using the finger—board: simply rest the fingers on the finger—board and then pull it out from underneath the hand.
If the elbow is correctly held and flexible, the entire arm drops downward with its own weight, as shown in Figure 3—37b.
This shows no excess tension but instead a well—coordinated weight transfer to the finger—board. If students can control flexibility of the wrist and elbow, they can use hand weight alone to create different levels of quiet sound. To develop the sense of the proper hand weight, students can rest the forearm on the table and the fingers on the finger—board. Then pull the finger—board out from underneath the hand.
If the wrist is flexible and the weight of the hand is correctly distributed, the hand will fall from the wrist as shown in Figure 3—38b. However, if students have too much tension in the wrist, their hands remain in the same position, as shown in Figure 3—38c. To diagnose this type of excess tension, the finger—board can be raised and slightly rotated by the other hand, as described before. The hand will move freely and easily with the finger—board if the students are distributing the right amount of hand weight to the finger—board.
Training Individual Fingers Having discussed the preparation of the finger—board, the execution of several basic finger movements, and detection of excess tension in the wrist and arm, we can turn our attention to the training of individual fingers and combinations of finger movements on the finger—board.
As with any other exercises, the speed of finger movement on the finger—board reflects the development of agility and sensitivity.
Mikimoto found that students generally can begin the low scratch exercises at the speed of around quarter note equals 70, with two scratching motions or two eighth notes per beat. If students have very weak joints, especially small children, Mikimoto suggests that they start more slowly within a range of quarter note equals For these students, attention should be focused on avoiding excess tension in the arm, wrist, and other non—exercised fingers.
Other fingers are almost invariably slower than the second finger, although the speed of the third finger is close to that of the second finger. The fourth finger is usually 10 to 20 metronome points slower. If the fourth finger is more than 30 points slower, then the student should pay closer attention to fourth finger movement.
The fifth finger movement is also slower, and will benefit similarly from extra attention. The movement of the thumb will be different from the other fingers because of its placement on the side of the hand and its wider range of motion. For thumb motion with the finger—board low scratch exercise, the thumbnail should touch the side of the peg and scratch down, and the third joint of the thumb attached to the wrist should face outward, as shown in Figure 3— Mikimoto states that correctly controlling the position and movement of the thumb is particularly important for releasing hand tension.
The thumb shows a tendency to have excess tension, and it is easy to misunderstand the proper thumb position and motion needed in piano playing. The most common problem occurs when the thumb moves inwards to the palm side of the hand, as shown in Figure 3— The physiological basis for this unnecessary tension resides in the muscle called Adductor pollicis, shown in Figure 3— This muscle is used primarily for grasping objects in daily life.
It has developed a natural tendency to try to support any finger movement, even when the hand is not grasping, hence the tension. Mikimoto, like many other pedagogues, believes this to be a reason why many students have a tendency to over—tighten the thumb when playing the piano. Students must understand proper muscle usage. The most efficient muscle to use for thumb movement for striking the key or, in this exercise, the peg is the flexor digiti minimi brevis, as shown in Figure 3—42 marked by R.
This muscle creates vertical motions with its pivot point at the root of the thumb. It might be difficult to feel exactly which muscle is moving. Nevertheless, if students pay careful attention to the root of the thumb, bring it out a little from the rest of the hand as shown in Figure 3—39 , and try not to over—tighten the adductor pollicis muscle, the digiti minimi brevis muscle will be activated. When students misuse the thumb muscles and habitually move the adductor pollicis muscle, it is readily apparent in their thumb position when they play the piano or exercise with the finger—board, drawn to the inside of the palm.
Mikimoto states that this habit of pulling the thumb toward the palm is very common among students, but it should be corrected in the early development stages, specifically before the age of ten.
Around this age, students start to develop their agility in piano playing, and if they begin to play fast passagework with an unnecessarily tightened thumb, they will never develop proper piano technique. For this reason, Mikimoto suggests the following rubber band exercise in addition to the finger—board. Exercise Place the rubber band around the thumb and fifth finger, and stretch the thumb away from the palm for 6 to 7 seconds as shown in Figure 3—43a.
Then relax as shown in Figure 3—43b and repeat the exercise several times. This motion should be a very subtle one, and at first should be done very slowly so as to avoid engaging other muscles in the hand and arm. Once students learn the correct position and movement of the thumb, they can develop its speed on the finger board more easily. Many students find that thumb movement is slower at first, but if they exercise it regularly with correct position and motion, its speed will increase to match that of the other fingers.
Another common problem of thumb movement is too much involvement with forearm rotation. In many cases, a fast forearm rotation can compromise the thumb movements, in the execution of quite fast passages on the piano.
However, if students form the habit of using only arm rotation instead of thumb movement, the speed of the thumb will never develop. She recommends that students set a goal for a metronome speed of quarter note equals with two motions per beat.
At first, use a short rhythmic figure such as two sixteenth notes and one eighth note, and put a slight accent on the last note, making a little tapping sound on the board. Once it becomes comfortable, lengthen each rhythmic figure to four 16th notes instead of two. The 1—2 or 2—3 trill exercises should develop up to a speed of quarter note equals to With the 3—4 and 4—5 trill exercises, the speed will be slower, within the range of quarter note equals to There are also students who may discover that even though one finger can move individually at a fast speed, two fingers in combinations sometimes cannot move as quickly.
It is possible that the previous one—finger exercises were not done properly, which with tension or unneeded movement. In this case, Mikimoto recommends additional slow practice with a focus on the exercising finger and the elimination of tension in the other fingers, wrist, and forearm.
After the two—finger trill exercise is properly mastered, finger combinations can be changed to three—, four—, then five—finger alternations, such as 2—3—4, 3—4—5, 2—3—4—5, 1—2—3—4—5, or other various combinations.
The exercises for finger combinations can also expand to the double fingerings 1— 3 and 2—4, 2—4 and 3—5, or 1—4 and 2—5.
These exercises are very beneficial to prepare for the double—third and double—sixth figures required in such pieces as Chopin Etudes Op. Students generally cannot control the third joint adequately when they move two fingers simultaneously. They have a tendency to continually push fingers against the key with the whole hand instead of the more efficient motion of raising the third joints and dropping them immediately to relax.
Students must learn how to execute double finger movements from flexible knuckle joints without any extra pressure from the wrist and forearm. With the finger— board exercises, students can feel the movement of the fingers more closely because of the lighter touch involved.
Once students learn the finger movement properly, they can then increase the speed of these difficult double figures more easily. Mikimoto points out that while some students are born with natural finger speed, most are not. Furthermore, once finger speed is achieved, it must be maintained by exercising or playing many fast speed pieces. Producing Uniform Piano or Pianissimo Sounds Finger—board practice is effective not only for fast finger movement, but also for controlling sound, dynamics, and tone quality, especially when coordination between finger movement and wrist, forearm, and upper—arm relaxation comes into play.
For example, with piano or pianissimo sounds, students can increase their fine motor control with a tiny scratching motion about 5 millimeters from the bottom of the peg without touching the board, as shown in Figure 3—
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