Deahl, Lora - Adaptive Strategies for Small-Handed Pianists

This comprehensive study offers practical strategies for overcoming the unique challenges of practicing and performing as a small-handed pianist. Informed by established scientific and pedagogical principles and illustrated by hundreds of examples, it is an incomparable resource for pianists and teachers.

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CONTENTS

Foreword
Acknowledgments
Key to Abbreviations and Graphic Symbols
Chapter 1: Understanding Small-Handedness
Defining the Small Hand
1 Demographics of Small-Handedness
1 The Evolution of the Modern Piano and Its Relationship to Small-Handedness
2 Historical Background
2 Ergonomically-Scaled (Reduced-Size) Piano Keyboards
1 Pedagogical Misconceptions About Small Hands
2 Selection Bias and Other Gender-Related Aspects
2 Attempts to Stretch the Small Hand
1 Small-Handedness and Injury
1 The Role of the Teacher
1 Conclusion
1 Reflection Points
Chapter 2: Fundamental Principles of Movement and the Playing Apparatus
1 Principles of Work Efficiency
1 Principles of Movement
2 Leverage
2 Newton's Laws and Piano Technique
2 Muscular Contraction and Release
2 Additional Characteristics of Movement Economy
2 Planes of Motion
2 Neutral Position at the Piano
1 The Parts of the Playing Apparatus
2 Torso
2 Shoulder and Upper Arm
2 Forearm
2 Wrist
2 Hand and Fingers
1 Conclusion
1 Reflection Points
Chapter 3: Technique and the Small-Handed Pianist
1 Maladaptive Tendencies
2 Fatigue
2 Power
2 Reach
1 Lexicon of Fundamental Facilitative Techniques for the Small-Handed Pianist
2 Avoiding Fatigue
3 Timing Muscular Releases
3 Using Levers Appropriately
3 Cultivating Finger-To-Elbow Alignment
3 Combining Basic Movements into Larger Gestures
3 Reducing the Amplitude of Movements and Gestures
2 Producing Power
3 Maximizing Key Speed
3 Transmitting Force Through Skeletal Structures
3 Using Arm Impulses
2 Addressing Large Reaches and Distances
3 Using the Arm to Navigate Distances
3 Using Passive Spread
3 Using Vertical Spanning
1 Boundaries
1 Conclusion
1 Reflection Points
Chapter 4: Redistribution
1 Uncrossing Parts
1 Eliminating Stretches in Chords and Arpeggios
1 Facilitating Leaps or Hand Shifts
1 Increasing Accuracy, Power, and Control
1 Maintaining More Neutral Hand and Wrist Positions
1 Facilitating Trills and Tremolos
1 Maintaining Legato and Line
1 Projecting Harmony
1 Conclusion
1 Application Problems
Chapter 5: Refingering
1 Fingering and Hand Size
1 Encouraging Compact Hand Positions
2 Chords
2 Arpeggios, Broken Chords, and Melodic Intervals
2 Consecutive Double Notes and Octaves
2 Readjusting the Hand to a More Compact Shape
2 Playing Seconds with the Thumb Alone
2 Using Non-Consecutive Fingerings
2 Playing Trills
1 Repeating the Same Finger to Recover Space in the Hand
1 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 Position
1 Moving Longer Fingers over Shorter Fingers
1 Substituting the Thumb for Inner Fingers
1 Using Positional Fingerings to Achieve Maximum Speed
1 Substituting One Finger for Another on the Same Key
1 Retaking Released Notes Silently
1 Conclusion
1 Application Problems
Chapter 6: Maximizing Reach and Power
1 Covering Large Distances
2 Applications of Either Oval or Fan-Shaped Gestures
2 Applications of Oval Gestures
2 Applications of Fan-Shaped Gestures
1 Facilitating Large Reaches
2 Applications of Passive Spread
2 Applications of Vertical Spanning
2 Applications of Passive Spread in Conjunction with Vertical Spanning
1 Dividing or Rolling Chords
2 Consecutive and Non-Consecutive Divisions or Rolls
2 Simultaneous Divisions or Rolls
1 Releasing Notes
2 Releasing Notes in Chords and Multi-layered Textures
2 Releasing Notes in Melodic Intervals, Arpeggios, and Broken Chords
2 Releasing Notes in Broken Octaves
1 Using Rotation for Power
1 Taking Advantage of Skeletal Support
1 Playing Staccato Chords and Octaves
2 Repeated Chords and Octaves
2 Traveling Staccato Chords and Octaves
2 Legato Octaves
1 Grouping Notes into Larger Gestures
1 Omitting and Revising Notes
1 Conclusion
1 Application Problems
Chapter 7: Musical Solutions for Technical Problems
1 Legato
2 Legato in Widespread Cantabile Melodies and Arpeggiated Accompaniments
2 Legato in Octave and Double-Note Passages
1 Fortissimo Playing
1 Pedaling
2 Damper Pedal
2 Sostenuto Pedal
1 Voicing
1 Rhythmic Inflection, Tempo Modification, and Rubato
1 Gestural Shaping
1 Conclusion
1 Reflection Points
Chapter 8: Integration and Exploration
1 Diagnosis and Integration
1 Exploration
1 Closing Thoughts
Glossary of Terms
Bibliography
List of Activities
List of Examples
Lists of Figures
List of Tables
Index