PianoTechnique.net

Michael Furstner is an Australian pianist whose classical studies resume lists among others, Yvonne Loriod, wife of Olivier Messaien. His search for the underlying physical basis of effective piano technique led him to an exceptionally clear and far-reaching analysis of the muscles of the hand and their function in piano playing. This article was cut-and-pasted from Michael Furstner’s own web page, and the numerous links in the article will take you to that original source page.

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PS 2 - The Flexor Digitorium System

Finger movements are largely controlled by two muscle systems.

The first system, the Flexor Digitorium system, is located in the upper part of the forearm near the elbow. These muscles extend with long tendons that run along the forearm, under the wrist all the way to the knuckles and finger joints.

This muscle system enables us to have a firm hand grip, strong enough to carry a suitcase, or even hold our entire body weight when hanging from a horizontal bar (or tree branch).

This Flexor Digitorium system consists of :

• the Flexors Digitorium Profundus, which run from the elbow along the lower arm, through the ‘carpal canal’ under the wrist, to the 1st finger joint (nearest the finger tip) of each finger.
• the Lumbricals, branch off from the Flexors Digitorium Profundus at a point within the hand palm and run to each knuckle joint.

• the Flexors Digitorium Superficialis, also run from the elbow, along the forearm, under the wrist, to the 2nd finger joint of each finger. (They split near the end to let the Flexor Profundus tendon pass through to the 1st finger joint.)

:The muscles shown above are used to curve (and close) the fingers of the hand.To do this however another set of muscles (the Flexor & Extensor Carpi) must hold the wrist firm (therefore stiffen the wrist), otherwise the Flexor Digitorium muscles would roll up the fingers, hand and wrist like a bamboo curtain.: : :

(The Extensors Digitorium muscles (not shown in above diagram) are used to straighten the finger and knuckle joints, opening the hand. These muscles and their tendons run from the elbow, over the wrist and the back of the hand to connect with the knuckle and finger joints via the Extensor Expansion sheet, that extends over the back of each finger. More about this muscle system below.)

The Flexor Digitorium muscle system is very powerful and we use it continuously for most of our finger movements.
However these muscles are not suitable for a good piano finger technique, because :

1. the muscles are located largely outside the hand, too far away from the required delicate finger action.
2. they cause a degree of stiffening of the wrist.
3. the key stroke becomes a pushing action rather than a freely rebounding gravity stroke.
   This results in a lack of tone quality, resonance, clarity and fluency .
4. excessive use of these muscles in piano playing can easily lead to repetitive strain injury (rsi) and inflammation of the wrist.

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PS 3 - The InterosseiThe second muscle system controlling finger movement is located entirely within the hand. It consists of the Palmar and Dorsal Interossei muscles. These are grafted on either side of the metacarpal bone (palm bone) for each of the four fingers and run to the finger bone (phalange) just past each knuckle.: :Used individually the Palmar interosseus pulls the finger sideways in one direction, the Dorsal interosseus sideways in the opposite direction.: :When used simultaneously the Palmar and Dorsal Interossei flex the knuckle joint forward (or, when the hand is in a horizontal position, downward).Most importantly these muscles are located entirely within the hand palm, and therefore can flex the knuckle joint (and achieve a proper finger action) without stiffening the wrist.For a good finger action in piano playing we must therefore use the Interossei muscles and flex the fingers from the knuckle joints. This leaves the wrists relaxed and flexible. There is however a problemIn every day finger movement the Interossei play only a secondary and supportive role in flexing the knuckles.

The prime movers in knuckle flexion are the Lumbricals, for two reasons :

1. When the knuckle joint is fully extended the Interossei are parallel to, and in line with the palm and finger bone…
   
   In this position the Interossei cannot start to flex the knuckle joint forward (or downward). The Lumbricals approach the finger bone at a larger angle than the Interossei.
   This means that they can flex the knuckle joint even when the knuckle joint is fully extended.
   The Lumbricals are therefore the starter muscles for the knuckle flex action.
2. The Lumbricals, being an offshoots of the powerful Flexors Digitorium Profundus are much stronger than the Interossei muscles.

We therefore rely on the Lumbricals to do most of the knuckle movements throughout our daily activities, including our finger actions on the keyboard.

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PS 4 - The aim of good Piano PracticeIt now becomes clear that in order to develop a good finger technique on the piano it is necessary to reverse nature.You must upgrade the Interossei from weak supporting muscles to become the Prime movers and learn to trust and rely on them in that dominant function.

As this starts to happen the role of the Flexors Digitorium and Lumbricals will gradually diminish to a secondary function involved mainly when special play techniques require this.

To develop the Interossei muscles you must :

1. Always play with a good hand position.
   The knuckle joint is not straight but slightly flexed.
   
   In this position the Interossei can function as starter muscles.
2. Develop Interossei muscle strength through regular technique practice as outlined in my Piano Technique Course.

Gradually the Interossei will become stronger. You will notice this by a most peculiar feeling within the palms of your hands : the interossei, as they become thicker, are pushing out the palm bones widening your hands.

Once the interossei have become strong enough to support the hand and arm it is time for the flexors and lumbricals to phase out their action. This mental step of trusting your fingers was for me at the time the most difficult process.

Sooner or later however the brain will get the message and gradually diminish and relax the flexors and let the interossei do the work . This then frees up the wrist, enabling the development of tone, resonance, clarity, great evenness and fluency in your playing.

Just playing piano regularly does not necessarily strengthen the Interossei muscles.

But sustained regular practice of the right exercises in the correct way will.

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PS 5 - Fundamental GuidelinesGood piano technique maximises the use of two sets of muscles.

1. The Interossei, to support the weight of the hand, arm or body and to assist when required to the gravity keystroke.
   
2. the Extensors Digitorium, to lift the fingers off the keyboard after they have played each note.
   (Extensor Digitorium actions do not stiffen the wrist, as the natural weight of the hand prevents any upwards flexing or instability of the wrist.)

For a good finger technique follow these simple guidelines :

1. Keep the hands always over the keyboard (not in front of it) with the thumbs pointing downwards, so that the weight of the hand is supported by the fingers (Interossei).
2. Keep the hands balanced on the fingers, with a slight forward pressure towards the piano. (This keeps the finger joints locked in position.)
   
   Never pull the hand backwards, for this either causes the fingers to collapse, or, in an attempt to prevent this, will bring the Flexor Digitorium muscles into action causing stiffening of the wrist.
3. Use the knuckle joints for all finger action.
4. Use gravity, viz. the natural drop of the finger, hand or arm, as the main source of energy.

It is most useful to have some understanding of the the muscle actions for a good finger technique.

However do not become obsessive about it while practising.

Just follow the simple instructions, lesson schedules and exercises provided in my Piano Technique Course (at your own pace) and things will fall into place and develop naturally.

Editor’s commentary:

This is the most comprehensive and insightful account of the musculature of the hand as used in piano technique that this reviewer has been able to find to date. And most of the conclusions Mr. Furstner draws are also dead on the mark. I have only a couple of quibbles:

All the diagrams of the arm-wrist-finger show the forearm in a flat line with the metacarpal bone, and a horizontal metacarpal bone. I am sure Furstner does this in the interests of clarity and simplicity - his concern is with the clear depiction of the muscles that move the finger. However, it should be noted that these muscles work within a system of levers, and that the arch structures of the hand and forearm are a crucial aspect of this mechanical system. Thus a diagram showing the metacarpal bone slanting upward slightly from the wrist, or the forearm slanting upward slightly from the elbow, might have been slightly more suggestive of the mechanics involved. We do understand that the flat position of these bones in these diagrams does make the muscular positions much more clearly and easily perceivable.

Then in Conclusion #2, Furstner says, “Keep the hands balanced on the fingers, with a slight forward pressure towards the piano. (This keeps the finger joints locked in position.).” The word “locked” is just a tiny bit too  strong for my liking. Furstner is describing a very potent process where the slight forward pressure virtually clamps two bones together across the joint, keeping them cushioned snugly, minimizing the amount of sinovial fluid between them and cultivating a sense of strong skeletal connection. But the word ‘locked’ evokes immobility, and this we do not want. The whole point is to keep the joints not only well-aligned but also free to move, albeit snugly. When they are snug they can move better than when they are too loose.

And when he says, “Never pull the hand back,” well… perhaps it’s best just to note the old adage, “Never say ‘never…’ ” There are instances when one might indeed need to pull the hand back - one is well-advised to follow Furstner’s cautionary note when doing so. In other words, go ahead and do it but try not to collapse your fingers or stiffen your wrist…

In Conclusion #4 he says, “Use gravity, viz. the natural drop of the finger, hand or arm, as the main source of energy.” For the pianist used to using far too much effort, and effort in wrong muscle groups, the sense of gravity taking over muscular work can indeed help decouple inappropriate muscular effort. However, letting gravity pull the fingers alone into the keys is really great only for the absolutely finest and subtlest of pianissimo touches, and even then it is an illusion, not the actual state of affairs. Then letting the weight of the arm seem to generate the tone, although good for loosening up an overly tense arm, will only emasculate the right work of the muscles once their correct tonus has been established.

Finally, although Michael Furstner has gone to great lengths in his research to show us an amazingly clear and revealing picture of the muscles we use to manipulate the keys, he ends up recommending using only half of them! One wonders why the lumbricals, superficial and deep flexors are there! I agree with him wholeheartedly that movement from the top knuckle joint, the metacarpal-phalangeal joint, is sadly underused in the majority of piano techniques, and that increased use of the interosseous muscles goes a long way in curing this default. However, we need the movement of the distal and medial phalanges for fine control of the key! And we need the more powerful action of the lumbricals moving the top knuckle joint, not only the interosseous. We need all the parts of our mechanism to be functioning fully if we want maximum capability!

Below I describe a technique for isolating the work of the interosseous - extremely valuable for reducing tension through the whole system and discovering a sense of truly effortless bones slipping and sliding through a the keyboard which becomes almost a malleable medium. However, for strong playing the lumbricals are absolutely essential. Interosseous great for fineness and sensitivity, lumbricals for power - a wonderful combination!

This video clip of Martha Argerich illustrates what I am saying:

http://www.youtube.com/watch?v=PcsRl_LIJHA .

Look at the large muscular bulk of her forearm. It widens out as it approaches the elbow much as a cobra’s body widens as it approaches its head. And baby, believe me, that ain’t fat, it’s pure muscle! I remember my teacher, Laurie Milkman having similar forearms.

This video confirms a suspicion I have always had about all the cautionary words advising one to minimize the use of the superficial and deep flexors, to curve rather than curl, to use gravity as the main source of energy, etc. All the things you need to do to avoid injury. Somehow when you look at this, it is plain to see that something else altogether is going on! Her fingers fly, and it looks like it’s all her musculature working together that moves them! She doesn’t have to worry about hurting herself because her pianistic machine WORKS AS IT SHOULD, at top capacity. It’s like a car - when it is well-tuned, it doesn’t break down but runs well. All parts function as they should, and no parts grind against any others. No parts fail to do their part of the job, thus no other parts are over-stressed. It seems pretty obvious that in Martha’s case, all those muscles shown in Michael Furstner’s wonderful diagrams are working at top capacity.

Furstner’s suggestions are great for developing a finer coordination - in a way, like some Feldenkrais Awareness Through Movement lessons for your hand. But to never return to a more powerful touch - a severe limitation!

Another concern I had when first reviewing this article was the lack of an obvious way of inhibiting the work of the lumbricals and cultivating the work of the interossei. Since then I have come up with some practical strategies to achieve this.

1) If you place the fingers of your left hand on the underside of your right forearm just above your wrist, where you would normally take your own pulse, and flex your right fingers fairly strongly, you can clearly sense the tendons tightening under your touch. Now try to curve your right fingers gently, without causing those tendons to tighten - leave them loose. When you do this, the lumbricals remain inactive and it’s the interossei that take over the movement. At the keyboard, if your finger can curve/curl in freely but remain almost limp, like pieces of rope, again when you find this much subtler way of manipulating the key you will have effectively eliminated the strong work of the lumbricals. See my article on the work of Kathleen Riley for more on this.

Although pianists might hesitate to clutter his or her brain up with too much knowledge of anatomy, Michael Furstner’s images and explanations are so potent and enlightening that they cannot but help the pianist resolve technical problems, and empower teachers to provide better aid to their students. Despite the minor points of contention, warmly and highly recommended!

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Article compiled and posted at PianoTechnique.net by Alan Fraser.