4.2.3. Active Dynamic System
Fig. 9de - hover over the imageVideo
- Legend for Figs. 9d and 9e
- 🚨CAUTION!
- The arrows in Fig. 9d that point opposite to those in Fig. 9e and are drawn in a paler color indicate a slight preparatory movement for the production of the sound. This can even be only an intention, with no visible movement. .
- R1 - resistance of the piano’s mass felt by the finger at the bottom of the key
- R2 - thrust of the pianist’s body mass onto the MA
- backward inclination of the head**
- opposing pressure of the torso***
- micro-impulse from the shoulder (forward)
- opening of the arm at the elbow
- elevation of the wrist
- hand movement at the wrist reminiscent of rolling up paper- > - - X1 - - < - before the attack X1 is shorter (Fig. 9d)
- < - - X2 - - > - at the moment of the attack the MA lengthens (Fig. 9e)
** The backward inclination of the head may be smaller or larger, but it must always be energetic and elastic, with a proportionate straightening of the back - together, they reinforce the impulses coming from the shoulder as well as the projection (throwing) movements of the arms. Relaxation of the neck is essential here (3.3). In many pianists, the head-tilt movement is clearly visible (4.2.3.2), but in others it can be very discreet.
*** The inclination of the torso comes from a bend at the hips and requires a stable support from the feet (or at least one of them). However, the effect of increasing the distance between R1 and R2 can also be achieved with an upright posture, without leaning toward the keyboard (as in, e.g., A. Rubinstein) - the torso’s pressure on the keyboard is then transmitted subtly through the arms. A slight inclination is often useful, especially at the beginning of learning.