INTRODUCTION 

1 – THE ARCHES OF THE HAND

Skeletality
The Hand’s Arches
Fingerstands (10.2)
The Moving Arch
The Dead Bird
The Floating Dome
The Geodesic Eggshell
A Student’s Arch
The Bell Hand
The Grasping Function
Grasping & the Piano

2 – LEGATO

Walking at the Piano
T’ai Chi Walking (10.1)
Legato (10.3)
Overholding (11.1)
A Practical Example (12.1)

3 - THE THUMB

Pianistic Co-Dependence
Three Point Intervention
Thumb Rolling (16.1)
Second Finger Windshield Wipers (16.1)
Thumb Pushups (13.1)
Isometric Windshield Wipers (13.1)
Thumbstands (10.2)
Reverse Opposition (Thumb Windshield Wipers) (14.2)
The Thumb & Forefinger (14.1; 27.1; 42.2)

4 – OCTAVES & CHORDS

Fifth Finger Pull-Ups (17.2)
Small Hands
Deconstructing Octaves (20.1)
The Mini Hand Flip (III.1)
The Octave Cobra Strike (19.1)
Shake the Piano (18.1)
The Hook
Tremolando Octaves (21.1)
Freedom & Brilliance in Interlocking Octaves

5 – THE ARM

Counterproductive Uses of the Arm (29)
Stabilization (29.1)
Phrase Shape & Orientation (32; 32.1)
Pulse Generation
Arm Weight (8)
The Bird Beak (31.2)
The Arm Swing (30.2)
The Arm as a Whole Finger (30)

6 - ROTATION

Rotation & Swiveling (35)
Rotation & Translation (35)
Rotation Examples:
La Campanella, m.42 (35.2)
La Campanella, m. 7 (35.2)
Jeux d’eau à la Villa d’Este (35.1)
Chopin, Op 10 #1
Chopin Op 10#9
Waltz Accompaniments
Mephisto Waltz

7 – RHYTHM, PHRASE & ORCHESTRATION

Entasis (3)
Rhythmic Entasis (52)
The Waltz (54.1)
Micro-Pauses (51)
Melodic Entasis (54.1)
Dynamic Entasis (58)
Listening

8 – MAXIMUM FINGER ACTION IN SCALES

Fingertapping (24)
The Sound of One Hand Clapping (26.3)
The Structure Supported Slap (25.1)
Eliminate Swiveling in Scales (39.4)
Differentiate Fingers And Hand (26.1)
Out the Back Door (26.1)
Lift the Fingers
Conclusion