The “self helper” among piano students is often so bewildered by a mass of contradictory directions regarding certain basic factors of his study, that he finds peculiar solace in the Scriptural affirmative “all men are liars!”
Take, for instance, the position of the hand – a matter of prime importance. The student is warned by numberless and undoubted authorities that he can never hope to attain eminence as a pianist unless he holds his hand “perfectly flat”; “a little arched”; “slightly inclined toward the thumb”; “inclined slightly toward the little finger”; “pointing slightly inward”; and one of the latest advises him to hold it practically “any old way!”
Bewilderingly simple, isn’t it? The question being all or none, or if one, which one and why?
The cause of all this maddening mess is that, very naturally, each method-maker recommends his own hand position, the position that best suited its structure, and one of the factors that has enabled him to attain his super-human technical dexterity. There was a reason for that position, and there should be a reason for every individual’s “normal hand-position”.
One or another of the above positions will suit any hand to a nicety, but it is the height of absurdity to think that a long, narrow, super-flexible hand and a short, broad and stiff hand can use the same normal hand-position and attain the same results.Continue reading What Is The Best Hand Position for Playing The Piano?