Jackson's Gymnastics for the Fingers and Wrist / being a system of gymnastics, based on anatomical principles, for developing and strengthening the muscles of the hand for musical, mechanical and medical purposes: with thirty-seven diagrams

by Edwin Ward Jackson

FOOTNOTES:

[7] The late Mr Clementi was celebrated for the perfect evenness and beauty of his touch in playing rapid passages on the piano. The means by which he attained this execution he was unwilling to disclose. It is now known that he effected it by playing his scales VERY SLOWLY, and with great pressure of each individual finger (see page 96).

[8] The celebrated violinist, Bernard Molique, told me lately, in London, that when he was called on to play difficult solo pieces in public, he very often played them previously over upon a stick.

CHAPTER XIV.
MECHANICAL FINGER-EXERCISES (CONTINUED).

Moreover, beautiful works of art, like pianofortes, violins, and other musical instruments, ought not to be used as gymnastic implements. They are destined for play, not for gymnastic appliances. The fingers and joints ought, therefore, first to be gymnastically exercised; then play upon the instrument.

The head and the fingers ought to go together; but how is this possible if the latter remain behind? The mind strives forward, the fingers keep it back. Why should this torture be inflicted? No; let the fingers first be properly trained; then head and fingers will go harmoniously together.

Another great advantage attending the above exercises is, that so long as they last, the organs of hearing are spared. Many persons, who zealously and with endurance perform finger-exercises on musical instruments, injure their health, through the irritation of the auditory nerves, to such a degree, as either to be prevented, on medical authority, from continuing to practise, or otherwise to be subjected to serious consequences; whereas, if the exercises are preceded by the gymnastic movements given above, the hearing organs of the pupil will be greatly spared, and not injured in any way.

The greatest technical art consists in controlling alike the fingers, the joints, and the nerves. Now, if the muscles and tendons are exercised and strengthened by proper physical work, the nerves will be invigorated at the same time. This is a well-known fact, and for those engaged in musical pursuits, an advantage which it is impossible to overrate. The fingers then will not be fatigued as easily as before, and you learn at the same time by habit, to acquire complete control over the joints, the muscles, and nerves.

Nor ought another advantage to be overlooked; viz., that in regard to artists and persons who play well, when these travel, or from any other cause are prevented from playing for some time on a musical instrument, they will be enabled, in the manner described above, to exercise efficiently for a short time daily their fingers and joints. Thus the fingers and joints will not get stiff, and you will always remain their master.

However, to attain this end, the exercises on the stick ought not be performed carelessly, but gymnastically, and STRICTLY according to the directions given above.

The same exercises are very useful for persons playing the violin, by promoting the proper bending of the forefinger of the left hand.

Generally speaking, the whole of the above exercises are equally fit for all persons playing the piano, the organ, the violin, the violoncello,
and other instruments; and they will find, after having accustomed themselves to perform them vigorously and gymnastically for a short time daily, that they then come to the instrument with a strength and individuality of finger which will exceed their utmost expectations.

CHAPTER XV.
BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY THOSE OF THE THUMB AND THE LITTLE FINGER.

Take a board, about 22 inches long, four to five inches wide, and three quarters of an inch thick, and mark out on it four or five grooves, about half an inch deep. To fix this board on the table, have a little ledge glued on to one of its sides, as in Fig. 36 and 37.

Place the outstretched hand on the board; stretch the thumb and the little finger as far as possible away from one another, into one of the grooves, place the other fingers into one of the other grooves, and set them in motion, while holding the thumb and little finger firmly in their places.

Fig. 36.Fig. 37.

CHAPTER XVI.
ON STRINGED INSTRUMENTS IN PARTICULAR. THE WRIST OF THE RIGHT HAND.

The following mechanical gymnastic exercises refer to the wrist of the right hand, and are intended for players on stringed instruments. Their chief purpose is to render the wrist of the right hand and the forearm strong and flexible. This all students find very difficult; it will soon be evident for what reason.

It is a fact acknowledged by the most celebrated musicians, that the principal bowing difficulties in playing the violin arise from the wrist. This is chiefly owing to the circumstance that, in playing the violin, the movement sideways of the wrist is a peculiar one, being, in fact, totally different from any other movements taking place in the ordinary occupations of life. If, therefore, it be desired to diminish the painful work, as customary at present, it is indispensable to prepare the wrist and arm by exercises like those we are about to describe.

Take three times daily, and particularly early in the morning, a stick or cane exceeding the length of a violin bow by 8-10 inches, holding it in your right hand the same as a bow; lay it on the left hand,—which is to be raised to the same height as if playing the violin or violoncello,—and move it vigorously up and down as follows:

1. The entire length, 30 times;

2. The middle length; with the forearm and wrist only, without moving the upper arm, 30-40 times;

3. At the nutt; with the wrist alone,—and especially up-stroke,—with energy; without in the least moving the arm, 30-40 times;

4. At the extreme head-end; with the wrist alone, and with pressure; without in the least moving the arm, 30-40 times.

Move the cane alternately up and down, pressing it with the thumb and forefinger, and look at the direction of the wrist and the stick or cane. With this gymnastic cane you may exercise gymnastically, at pleasure, up and down strokes, triplets, and all sorts of bow-movements. The effect you will find surprising.

These exercises are particularly useful for the student. As a matter of course, they can also be partially made with the bow, but not with the same effect.