Right hand stability

I would only add, "Don't push, ." AFF

Here are the images of the extension action, I spoke of (provided to me by Azim Akberali). The angles are simply for a particular starting point- not prescriptive of a "correct" angle. If you imagine a line between knuckle and fingertip and extend through it, the aim is mildly forwards. This means that the reaction pushes you BACK- whereas a circular action from the knuckle alone drags the wrist forwards. Again, the line is a rough guide though, not a thing to adhere rigidly to. I've found this conception extremely useful for fixing my wrist problem. Note that the knuckle still "pulls" in its strong action, whereas the other joints lengthen. It would be complex to think of both actions as individual things, but the principle of extending into the line makes it very simple to do via a single mindset. Also, it serves to open space between the knuckles rather than to close them. Apaprently there's a physiological thing that means the knuckles necessarily close together, with a pure knuckle pull. However, if you're ALSO expanding outwards in the two mid-joints, the knuckles are actively opened. It synthesises the power of the knuckle with a small extra factor that makes for a number of very practically significant changes to the overall result.

Also, the same action makes for the simplest way (I can imagine) to conceive balance, after key depression. By continuing a slight intent to extend, the fingertip cannot be pressed back up by the springs of the key. It's the exact same action that creates movement that goes on to maintain the balance. Movement evolves straight into balance, with minimal change in state being needed. Rather than a more complex array of braced joints, you simply feel how much you need to intend to extend, to perfectly balance out the force that the key that is trying to collapse the finger with- rather than have to fight against it. It's basically Alan's Tai Chi walking, but I've found that by thinking about this concept beneath the surface, I've found it easier than ever before to make sure I'm using the simplest muscular actions to achieve it. From here,I can now just "feel" it better than ever before. Previously, I think I was too focused on the knuckle pull itself, to find the simplest balance of forces at the keybed. Here, the other joints need a slight intent to continuing the lengthening activity- just as the muscles that operate the knees need to keep some activity, in order for them not to buckle and give way, during standing.

Hi Very nice illustrations indeed you can really feel what's going on, the dynamics. Looking forward to seeing more of these. Lately I have ignored the tech-side completely and concentrated entirely on mind memory and music. In that process I found that the two years+ I spent on reestablishing/improve the technical side was beneficial in many ways (like creating healthy postures ultra-strong lumbricals and interossi etc) but destructive in another way as it created an illusion that it's possible to take it all up to consciousness. Of course it's not and it took me a few months to get rid of this superanalytical approach. You really don't know if you push or pull or whatever when you play at speed under pressure so letting it all go is probably as crucial as the rest.Or rather: it is certain. Maybe it's even more important to learn to let it all go. So I think Alan does give a very very very important advice here. Concentrating on sceletality is a bit like letting it go-you really don't need to know or should not know what's going on. This enables the system to act completely freely in accordance with the music.And nature.Let somebody else do the job. I still do some exercises with the only aim to keep the lumbricals thumbs etc in shape but it's more gym-like and totally separated from playing or music. Probably will get back to the tech side but I won't repeat the mistake to let it take over. Time is limited.....

Hi Very nice illustrations indeed you can really feel what's going on, the dynamics. Looking forward to seeing more of these. Lately I have ignored the tech-side completely and concentrated entirely on mind memory and music. In that process I found that the two years+ I spent on reestablishing/improve the technical side was beneficial in many ways (like creating healthy postures ultra-strong lumbricals and interossi etc) but destructive in another way as it created an illusion that it's possible to take it all up to consciousness. Of course it's not and it took me a few months to get rid of this superanalytical approach. You really don't know if you push or pull or whatever when you play at speed under pressure so letting it all go is probably as crucial as the rest.Or rather: it is certain. Maybe it's even more important to learn to let it all go. So I think Alan does give a very very very important advice here. Concentrating on sceletality is a bit like letting it go-you really don't need to know or should not know what's going on. This enables the system to act completely freely in accordance with the music.And nature.Let somebody else do the job. I still do some exercises with the only aim to keep the lumbricals thumbs etc in shape but it's more gym-like and totally separated from playing or music. Probably will get back to the tech side but I won't repeat the mistake to let it take over. Time is limited..... I see where you're coming from- but for me this action is in many ways a "letting go" concept. Rather than think so much about the knuckle pull, it's more about the direction in which energy is applied straight through the key. Of course, there's a stage beyond that where you purely think of intended sound and barely perceive the hand at all. However, at the moment, I'm finding this the simplest way to visualise something extremely direct. It's basically just a visualisation of the direction in which energy is intended to travel, to set the key into motion. It's a little like how if you were to push something, starting with bent elbows, you wouldn't think about the action of straightening the elbow. You just think of moving the hands straight down the line you want to push the thing in, and the arms straighten from initially being offline, until they are directly going into the line of movement. I no longer worry about whether the knuckle is activating properly- but simply trust that the conception of the line of movement will be enough to trigger it. I'm finding tremendous simplicity from this (although the thing I still have to focus on is making sure that the finger STARTS from a position in which it can perform that kind of movement with simplicity and efficiency of transfer). The intent is ultimately little more than to move the key in a near-direct line (with just a trace of aiming forward, rather than straight down). I have some other diagrams that illustrate how this line is virtually horizontal (and hence pretty useless), if you start with a drooped knuckle. I think this is where my problems still come in- when the previous finger has not kept the knuckles high enough for the next to operate with the same simplicity and directness.

Lately I have ignored the tech-side completely and concentrated entirely on mind memory and music. In that process I found that the two years+ I spent on reestablishing/improve the technical side was beneficial in many ways (like creating healthy postures ultra-strong lumbricals and interossi etc) but destructive in another way as it created an illusion that it's possible to take it all up to consciousness. Of course it's not and it took me a few months to get rid of this superanalytical approach. You will like the Foreword to All Thumbs, it addresses this directly... All best, AFF

Hi Alan Didn't know until recently that the book was out what a pleasant surprise-I will order it and it'll be this summers good book I presume. Congratulations this is a shadowarea for most but luckily enough we've treated the subject on this forum.Before watching the DVD I had no clue. Maybe you should have kept quiet now the competition will become even harsher

Hey if the competition can keep up with me, that means we're all playing piano better, right? And that would be a Good Thing! Enjoy the book - in some ways (many ways) I think it's my best to date... Which means that it's even weirder than the first two! AFF

thanks Andrew and Alan. Your explaination is very clear, I should put into practice. Will update with your approach.

Hanon #1 at 65 bpm Hanon #1 at 76 bpm and the movement from Clementi's Sonatina The reactions are quite visible in the Hanon drills. The problem with the 2nd finger ... about which I was initially talking about can be seen in the Sonatina...just before the end...somewhere in the final phrase...there is consistent pause...gap...whatever... Just after recording these videos I experienced somekind of regress in the sense that I could barely play the Hanon at 52 and even at that tempo there were still gaps when the RH 2nd finger came into action. I don't even have to mention that I can't play the sonatina anymore at the tempo at which I was able to play it in the video. That determined me to post here. After Alan's response I stopped using the metro and things improved. I applied his philosophy "no down only up" and the 2nd finger got better. However there is no way near so much stability as it is in my left hand. It seems that my left hand is functioning by itself. The more I activate my fingers the more I perceive this problem. Since I started practicing without a metronome I managed to adjust the finger actions. I would dare to say that now the finger action stops (but remains active) when the key reaches the keybed. Moreover I removed almost completely that "false feeling of gravity" at slow tempos. It's extraordinary how much the arm tried "to dig in" instead of letting the fingers do their job. A while ago I thought the problem was over but the more I concentrate myself on the finger action the more I discover that there is still unwanted tension to remove.