In examining the nature of the hand, it will be necessary at this stage to exclude any consideration than it other than as something to be acted upon. It will afterwards, in its regards to the keyboard, be looked at as an agent.
The framework of the hand and hand involves 30 bones: 1 for the upper arm, 2 for the forearm, 8 for the wrist, 5 for the palm of the hand, and 14 for the fingers and thumb. The hand and hand are, in fact, fastened to only one of the 2 bones of the forearm. audio amplifier repair
This may easily be proved. Let the right arm be freely extended, and the palm made to-turn half game and back again without bending at the arm, the fingers of the left during this movement touching lightly the very well under” bone of the right arm near the elbow. As the hands turns, the top bone alone turns with it, attached to, and “rolling” on the lower one at both elbow and wrist.
The conditions “under” and “upper” are applied only relatively to the two bones of the forearm, as by means of motion at the shoulder-joint their respective positions may be reversed. In our instance the position in which they are really regarded as ” upper ” and “under” is that by which, when the arm is outstretched, the thumb is uppermost.
The bones of arm and hand are dependent for there action on the action of the muscles, which are attached in the truth of the hand and hand practically always to bone, for the purpose of moving it. A bone cannot be altered properly unless the muscle or muscles moving it are altered in shape. Once uncontracted, every muscle considers the greatest length and the softest consistency natural to it. When intentionally contracted it is smallest and hardest.
You will find two sets of muscles used to move the hands, the flexors and the extensors. The former are situated chiefly on the front of the fore arm, and draw the convenience towards the palm of the hand; the second option, situated on the backside of the arm, are instrumental in opening the hand and straightening the fingers. The contraction of either set of muscles draws the bones into which they are put on the bone from which they originate.
If the hand and arm were allowed to fall generally by the side, and if the attitude thought by the fingers were noticed, it will probably be seen that they do not hang up straight, but are held partially bent or flexed. If they happen to be then straightened or extended, the stretch can be felt, and attention is required to keep this position, and when this work is relaxed, the hands return to their earlier rounded shape.
The muscles when lying at recovery, or put simply, without compression of either flexors or extensors, cause this frame of mind of the fingers. That is to be realized that this natural attitude is equivalent to that used in playing on the piano.
It may be as well to make use of in future the text “stiff” and “loose” to reveal the two states of muscle: the former to the forcibly contracted, the latter to the correctly natural state.
Of more practical use to the piano student than understanding of how muscles contract is the knowledge of what causes muscles to deal; since, from a clear comprehension of how to arouse and control the muscular action necessary for piano playing will spring and coil everything is included in the expression, Technique.