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Avoiding Arm and Hand Pain in Piano Playing The very physical nature
of playing the piano unfortunately sometimes leads to problems with
tendonitis, hand strain, and pain in the arms. Pianists can find themselves habitually
putting unnatural strain on |
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parts of their bodies,
which can be complicated by their age and physical development, their
technique, and the demands placed on them by their instructors. Anyone studying piano should practice
playing as naturally as possible, using a preventative approach to make sure pain
does not hinder enjoyment of the instrument. Where do problems with hand pain at the piano come
from? It might appear that if a
person is fit and strong, they should simply have no problems when playing
the piano—after all they are not on the basketball court or playing an
injury-filled sport. However even for
a very healthy person numerous issues can cause problems: for one, many
musicians do not even realize how they use their bodies at the piano. Many pianists adopt contorted postures,
grimace and twist their faces, lift their fingers at odd angles, lean far
forward, and move in other unnatural ways.
Much of this takes place in an attempt to execute difficult passages,
or to bring out passionate emotion, or just out of bad habit. Furthermore, another issue
is the age and individual development of the piano player. Especially children under sixteen could be
prone to problems if they do not develop good habits, because their bodies
are still forming. Teachers need to be
aware of students’ physical wellbeing at this stage. They should make sure the pieces they
assign do not overly stress the student, and that the student has learned the
appropriate technique. How can pianists avoid developing arm and hand
problems? One of the most important things
a piano player can do is focus on playing in a manner that is natural to him
or her. Before learning any
fingerings, hand positions, or technical methods, the pianist should just
attempt to play effortlessly. Make
every motion, every execution of a passage, as though the hands were just at
rest, not exerting any energy, not forced or pressured. Maintain a steady relaxation, and avoid any
postures or movements that do not feel natural and relaxed. Next, watch for common
problems and sources of tension. For
example, many players will lean into the piano during playing. This is not as good a posture because it
places more tension on the arms and reduces blood flow due to the angle of
the torso. Another source of tension
is the neck and shoulders. Many
players will hunch the shoulders, which restricts motion of the upper body
and spreads tension down through the arms and hands. In terms of tension in the
fingers, a good exercise is to understand the neutral position of the hand,
sometimes called the “position of function.”
Drop the arm and hand down vertically pointing towards the floor, then
lift the forearm up at the elbow so it is horizontal, keeping the same
relaxed position of the hand. Notice
the natural arch of the fingers, the open position, free of tension. Notice how the thumb curves, and the angle
at which it rests. This neutral,
relaxed position is a good model for how to try to maintain the hand during
all playing. No matter how technical
or difficult the passage, strive to maintain the neutral, open position, with
minimum tension. Another good habit is to
put some work into finding the best fingering for the individual. Many sheet music editions have fingerings
printed for each note. Often these
fingerings are strong and assist well with smooth playing. At the same time, it is important for the
pianist to find what suits him or her the best—whether he feels more
comfortable using the third or the fourth finger on a note, or substituting
the thumb in one hand for a certain notes in the other. The fingering in the score is not always
the best, and the time spent finding a comfortable fingering could prevent
injury and make each practice session run more smoothly. As well, injuries can also
be prevented by using common sense when practicing. Make sure to take breaks every fifteen
minutes or half hour, to give the hands a chance to rest—do not exert them
tirelessly for hours and expect them to never develop signs of overuse. Also pianists should make sure to work on
repertoire that is appropriate for their technical level—they should avoid
playing pieces that require more physical ability than they currently have,
even if they are otherwise able to grasp the piece intellectually and
musically. Working on a piece that is
neither too difficult nor too easy gives the player a chance to progress and
develop strong skills at each stage.
He can then move on to harder works more effectively, rather than
jumping into overly challenging works and facing greater problems or
injuries. Finally, a piano player
may wish to learn the details of an advanced technique, that can assist in
efficient use of the body. The
Alexander Technique is one popular way of carrying the body and maintaining a
stable posture while playing.
Individual methods and teachers also provide their own ways of
maintaining healthy posture, from rotating the wrists, to sliding the thumbs,
to keeping the fingers arched.
Advanced study of one or more of these techniques may provide a good
basis for keeping a good, pain-free posture.
Nevertheless, throughout the study of any techniques, it is always
important to keep in mind the simple idea of playing naturally. If the player focuses on avoiding stress
and tension, using the body in a generally relaxed manner, and using common
sense to choose technically appropriate pieces and practice times, he or she
could already be well on the way to healthy playing. |
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All articles (c) 1999-2006 by LIFTOFF! |