CHAPTER XVII. (CONTINUED).
There is another very effective gymnastic exercise for strengthening and rendering flexible the wrist of the right hand. A movement resembling it has already been described above, but to prevent any misconception, I think it well to give explicit directions respecting it here.
Take hold with your right hand of the extreme end of a long and rather heavy Alpenstock, and while continually keeping the hand in the same place, move it upon the upheld left hand vigorously up and down:
1. With the whole arm, 30 times;
2. The middle length, 25 times;
3. As near as possible to the lower end, with the wrist alone, without in any way moving the arm, 30 times;
4. As near as possible to the upper end, with the wrist alone, and especially up-stroke, without in any way moving the arm, 30 times.
This exercise, on anatomical grounds, produces a considerable effect on the muscles and sinews of the wrist and the forearm, in imparting to them the wished-for strength and flexibility.
Besides, it is a well-known fact that, having handled a heavy object, it is more easy skilfully to handle a lighter one.
If it should be objected that the last-mentioned gymnastic exercises, being of rather a rough kind, might spoil the elegant stroke, my answer is, that those so-called rough exercises only last a very short time daily, and are undertaken for the special purpose of rendering the arm and wrist strong, easy, even, and flexible. Indeed, if these right-hand exercises are made carefully and according to the directions given, a short time every day, they will strengthen the wrist of the right hand and render it pliant and flexible to such a degree, as to enable persons, in a comparatively short time, to play with the wrist almost as vigorously as with the arm.
There is, moreover, another advantage attending these exercises, viz., that, if continued for some weeks only, and for a few minutes daily, they will soon give the proper position to the student’s arm, which, consequently, will not be required to be tied to the body, as was often done in former times.
CHAPTER XVIII.
CONTINUATION. STACCATO.
A famous German chamber violinist once remarked to me, “I find that staccato playing is the best exercise for bowing, but I can’t say why.” The reason, however, lies in the fact that, by frequently playing with the end of the bow, or with the staccato-stroke, the muscles of the wrist are put in motion, thus undergoing a gymnastic training by which strength and flexibility are acquired.
It is impossible to perform the staccato-stroke well, unless the muscles of the wrist have become strong and agile; and the reason why the student finds this stroke in most cases so difficult is, that the wrist has not been specially trained and prepared, in consequence of which it remains weak and stiff.
It ought to be remembered that in almost all kinds of handiwork in daily life, the whole arm is active and in motion, and very rarely the wrist alone. With musical instruments, on the contrary, and particularly in playing the violin, it is necessary always to use the wrist, and it is impossible to play well unless the wrist has been rendered strong and elastic. It is, therefore, absolutely indispensable that proper gymnastic exercises should be made with the wrist, in order to prepare it. The wrist, indeed, ought to be accustomed, in other words, to move of itself, and the student ought, as often as possible, to perform all kinds of movements calculated to impart to it pliancy and strength. It will then soon become free and easy, and the student will, in course of time, acquire the strongest, most elegant, and artistic stroke.
No single one of these practical gymnastic exercises ought to be despised on account of its simplicity. Only try them, and they will be found very effective. All sensible artists and teachers will do homage to every improvement, and consider it their duty to welcome any assistance calculated to diminish and render lighter the arduous toil, and shorten the valuable time required for becoming a proficient in music.
CHAPTER XIX.
CONCLUDING REMARKS.
I will only add in conclusion, that it would be well not to continue too long with the same gymnastic exercise, but to allow the muscles and joints some change, which will be found both agreeable and advantageous. If, therefore, the student be tired of one exercise, he should begin another. Besides, if the fingers are fatigued and hot by playing, and the nerves irritated, an exercise of some of the different free or mechanical gymnastic appliances will refresh the muscles, by imparting to them a new and an easier movement. And be it remembered, “these exercises are not irksome, but recreative.”
It may also be recommended in such cases, to dip the points of the fingers for half a minute into half a glassful of cold water, and let them get dry of themselves, thus cooling by evaporation; or still better, wash the hands with soap and water.
To sum up: No student ought to begin to learn or to play the piano, violin, or other musical instrument, or even to engage in any work or occupation requiring a strong and flexible hand, before having set the joints of his fingers and hands in order, by means of preparatory gymnastic exercises; and he ought to continue the same from day to day.
Let it ever be borne in mind that much rapid playing affects injuriously the muscles and nerves; while, on the other hand, slow exercises and studies invigorate them.
To borrow an illustration from the animal world; take the race-horse, the fleetest animal which we use in this country, whose great task requires that his muscle should be brought into the highest condition of strength and flexibility. Do you suppose that, in training and preparing him for the race,—a process often extending over a considerable period,—that he is, in the course of it, much galloped? By no means! Galloping forms the exception, and, during this long interval, walking, trotting, and cantering form his chief training paces; namely, four-fifths or seven-eighths of the time; galloping only one-fifth or one-eighth part! His skilful trainer knows that much rapid exertion, such as galloping long continued, weakens and wears out his muscle. So, also, in the hunting-field and on the road, it is “the pace that kills.” Even so with the player upon a musical instrument; long continued, rapid movements wear out the muscle and shake the nerves, while slow exercises, however vigorously executed, invigorate and strengthen both (see p. 75, note).
The exercises for stringed instruments will be most satisfactorily performed before a looking-glass, and I may here add that a little work by the author, entitled “Gymnastic Exercises for the Violin and Violoncello,” having for its special object the exercise of the wrist of the right hand on the instrument, will be published in a short time.
And here I avail myself of this opportunity to raise a question for consideration regarding that part of the violin-bow which the right thumb presses. Let me ask, first, why should this little sharp projection be permitted to appear on every bow, to the prejudice of the placing firmly the thumb there, instead of being rounded off? and secondly, why should there not be placed, close to this point, especially for students, a small piece of round gutta percha—a gutta percha button—as a stay to the thumb? Great facility would thus be afforded for holding firmly the bow. Any one may put a piece of gutta percha in the candle, and, when softened, stick it fast on the place indicated.
Finally, I repeat that, in performing any of these gymnastic exercises, the principal condition to be adhered to is, that they should always be made in the morning, also immediately before playing; and that while great vigour is imparted to them by following out strictly the directions given, any over-exertion should be avoided. As to the claims of the author himself, they are limited to an earnest desire, that his “Gymnastics of the Fingers and Wrist,” founded as they are on anatomical and physiological principles, may find favour with the Public, and be instrumental in promoting the best interests of Art.
THE END.
JOHN CHILDS AND SON, PRINTERS.