The following table is offered as a reference for some of the motions possible with a few of the instruments described.
| Part | Motion | Instrument |
|---|---|---|
| Fingers | All | Piano |
| Fingers | Extension | Ukelele |
| Thumb | All but adduction | Piano |
| Wrists | Flexion—Extension | Piano |
| Elbow | Pronation—Supination | Guitar |
| Elbow | Flexion—Extension | Violin |
| Shoulder | Abduction—Adduction | Piano |
| Neck | All Motions | Xylophone |
| Back | All Motions | Bass Viol |
| Hips | Abduction—Adduction | Organ |
| Knees | Flexion—Extension | Pianola |
| Ankles | Flexion—Extension | Parlor Organ |
Voice
Singing has long been used for the treatment of stammering and other speech impediments. Singing can also be used to exercise the jaws, larynx, lungs and diaphragm. With proper instruction, singing can be an excellent exercise for the muscles of the chest and abdomen as well as a breathing exercise.
For the patient with a recently wired fractured jaw, singing gives gentle joint motion and restores confidence in the ability to use the jaw again. The same thing applies to patients with recovering tempero-mandibular joint pathology. A patient with poor jaw motion cannot articulate well, but can sing more nearly like the well patient than he can talk. Singing can begin at the level of humming and progress through scale practice to actual song instruction.
When several patients are available for vocal exercises, a trio, quartet or other group arrangement will create greater interest. Except in hospitals devoted to the treatment of chronic disease, the turn-over in patients will make group singing uncertain.
FOOTNOTES:
[II.] “a discussion took place in 1913 on the physical significance of that mystic quality called “touch” by which a player attempts to vary the quality of the notes ... but it was concluded that the velocity of striking was all that could be varied by the player.”
Richardson, E. G.—Sound, p. 106