Developing Better Hand Position for Efficient Playing

Developing Better Hand Position for Efficient Playing

A recent enquiry set my mind off thinking of the many times I have tried to either help myself, my pupils or colleagues to improve one aspect or other of their hand position and finger motion - the goal usually being to reduce strain on the hand, thumb, wrist or fingers or to increase playing speed in a technically challenging passage. Over many years of observation, and benefiting from welcome guidance of numerous fine teachers, several strategies have 'won out' and remain part of my repertoire to this day. I would like to share some thoughts and suggestions.

• Relaxation is vital

We all have different hand and finger shapes and finding the most relaxed, comfortable position for operation of the keys or valves is vital. Every instrument has its own requirements that need to be studied and acknowledged. If you take time to observe fine performers whom you respect you are likely to see good habits manifested. Look at yourself and your posture / fingering in the mirror while playing. How do you compare with those whose technique you admire?

Bad habits often start by not paying attention to what for each of us is most natural and relaxed. Even with the best of intentions forcing a finger to stretch or move a certain way that is not comfortable rarely leads to efficient or sustainable technique. Remember, though it may seem obvious, it is a good idea to try to adapt to the requirements of your instrument and not expect it to adapt to you.

• Repetition with a purpose

Practising a passage over and over again without examining what your fingers are actually doing can become very frustrating and even cause damage to the delicate tissues, muscles and tendons of the hand or arm. Practice slowly in a controlled manner in order to learn new habits or reinforce better finger function. Better finger coordination, relaxation and accuracy should be the goal.

Allow speed to be the end result of a careful and considered, slow study of exactly how your fingers are required to move in order to perform the passage. Speed should never be the first consideration. 

Remember: 'Do not run before you can walk.'

• Understanding the issue

If one considers the requirements of the many and varied actions required to change notes, perform trills and execute leaps on wind instruments over a sustained period of time there is a huge range of motions and co-ordinations to be executed, with micro-second precision and often involving quite complex and 'unnatural' (in most any other context) motions. 

Think about the following for example:

Am I attempting to close a key or depress a valve? In which case the note that I wish to create has a tube length which will only be fully realised at the finish of the action. 

Am I opening a key or releasing a valve? In this case the note I have been on will begin to be 'lost' the instant I move from its closed position and the new tube length / note will begin as soon as the motion starts but not fully achieved until the action of the release is completed.

Am I opening some keys / valves while closing others (or visa versa)? Which tube lengths will begin to sound or stop sounding first? How must the action of my fingers therefore compensate for the requirements of this action on my instrument?

Are some of my fingers 'weaker' than others? Do I have to be more aware of these fingers in order to perform a passage smoothly? Do some fingers seem to 'charge ahead' and would they perhaps benefit from being 'held back' in order to balance with the rest? Learning how to 'weight' a note or set of notes is a very valuable skill and one frequently called upon to even out playing both physically and musically.

• Tension, present but never in excess

Whilst some degree of  'tension' is required to hold the hand and fingers in the most appropriate 'ready' position in order to operate keys or valves but such tension should be kept to a minimum. When operating keys or valves it is a good idea to distribute the muscle actions required up your forearms engaging these longer muscles rather than relying solely on the fingers or wrist to create movement. This use of the forearm muscles is very natural and this is how our bodies are meant to work but the familiar introduction of excess and unnecessary tension continually circumvents these very natural motions resulting in a 'locked' hand and 'seized-up' or 'tight' fingers. 

Try always to allow the fingers to find their own gently curved positions, ready to engage with key work or valves with a minimum of effort and travel distance and look to the muscles of the forearms to be the source of the action for lifting and closing.

• Acceptance of limits

 If you have observed, considered, practised and as a result, managed to improve your finger technique, you will begin over time to approach your own personal maximum for speed and accuracy. As long as you are able to remain relaxed while you work to develop your most efficient finger technique you can expect that increased speed and accuracy will result. However, not everyone can achieve the same finger speeds or degree of smoothness. We all have our strengths and weaknesses.  

In summary:

Some techniques or passages may take a great deal to time to master but if you are able to acknowledge and accept your limitations while learning (or relearning) the best possible approaches to all aspects of your instrumental finger technique then you are not only more likely to enjoy the physical act of playing but also find it easier to produce more rewarding and satisfying performances.

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The tips and comments above are the result of many years of providing help and advice, my personal interest and study, and the teaching that I have done during my career. I have many colleagues and teachers to thank for sharing their thoughts and suggestions on this and other topics. In addition I am indebted to Woodwind & Reed, Cambridge ( www.wwr.co.uk ) where, in the course of helping customers, many of these concepts have been refined and have proven helpful. 

Thomas Dryer-Beers