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

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).