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How Can the Bowman Piano Playing Method Help Me Play Better As a Classical Pianist?

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How Can the Bowman Piano Playing Method Help Me Play Better As a Classical Pianist?
By Marty A Cohn

Strictly speaking, the method that I want to explain below, can apply equally to pianists of all musical styles, but the Bowman method, which is the primary method I wish to write about has been created by a classical pianist who was experiencing many problems, due to muscular injury and tendonitis. I am including a brief history, to impress upon you the tremendous change that this style of playing can have on your ability to not only play, but also on the resulting sound.

It is almost inevitable that any serious pianist, who is practicing around seven hours a day, with complex musical scores, like the Brahms B Flat, or the Rachmaninov Concerto Number 3, is going to experience some degree of muscular problem in their career, as the time spent at the piano is time that the arms are supporting the hands, and the hands and wrists are regularly moving across the keyboard to play the notes. Now, while most of that is obvious, not so obvious is the state of play in the wrists, and hands.

Given that the keyboard spans multiple octaves, and the pianist normally remains seated on one spot on the piano stool, there is going to be a bit of movement, either from the hips to place the body closer to the section of the piano where the hands are meant to be, or there will be a case where the hands are not always at right angles to the piano. This is the first downfall for many pianists. While they are attempting to play across the keyboard, they will need to be sitting left or right, through the loosened movement of their hips, or otherwise, the strain that will come to the hand muscles will catch up at some point.

In the case of Professor Lionel Bowman, it was around his late thirties that the problem developed to a point where he could no longer play. For a serious or professional pianist, that can be a disastrous state of affairs, much like when a footballer needs to have a knee reconstruction. They would be out of the game for the best part of a season. In Lionel's case, it was several months at the least away from the piano.

Naturally, it is far better to avoid a playing style that will lead to this problem in the first place, so it is best to do something about it sooner, rather than later. This is where it becomes a good idea to adopt a new playing technique. In the case of Professor Bowman, the technique evolved out of necessity, sometimes the best teacher. He took the time to really study the anatomy, and realised that he had to modify his style of playing, as the body's anatomical design is not directly compatible with playing the piano. Essentially, part of the problem was the issue of muscle tone, but also, a large part was the problem with the relative angle of the keyboard, needing to be at right angles to the hand at all times. (or at least, as often as possible).

He also found that by strengthening the muscles in the fingers, he was able to deliver the power to play at higher volumes from the fingers, rather than use alternative muscles that allowed the possibility of other muscular injury. He also found the best way to condition his fingers was by practicing on a flat, wooden surface, which required more force to develop the volume required to hear the 'music'.

Whilst this all helped to a degree, there were still numerous exercises that he developed, to actually aid the spacing to grow a little larger between the ulna and radius bones of the forearm. Whilst the difference was subtle, it was the 'window' that allowed him to play more successfully, through the complex passages. He also had smaller hands, which again, made playing the piano more difficult. However, the bonus with his method was that he was able to overcome these seemingly impossible problems, and was able to relax more, and thus concentrate on producing a richer sound, that left him pain free.

That can only be a bonus for all pianists. The method is regarded as a little more complex at first, to get the hang of, but has been reported by many students to make learning, and playing new material easier, in the long run. One reason for this is that the mind subconsciously takes over, on some of the routines. It is rather like driving a regular route home. Have you ever arrived home, after a long day, and realised you did not actually remember the drive. You actually did so on a kind of auto pilot. The same can apply to this technique while playing, once mastered.

Are you interested in overcoming piano injury, for the long term?

You will also gain an enhanced comfort and improvement in your playing, with less stress and injury. To learn more, see the therapeutic techniques that are possible for classical pianists.

 

Can I Overcome Difficult Injuries, and Still Play the Piano at Concert level?

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The short answer, in many cases is, Yes. I say this, as many pianists have suffered numerous injuries in the past, typically in the areas of tendonitis or muscular injuries.

However, with the right information, and methodical approach, you can overcome your limitations.4

I know this is a big statement to make, but let me explain it this way…


I was fortunate to have met Professor Lionel Bowman, before he passed away, and also have come in contact with Mr Wallace Tate, a man who studied the methods of Professor Bowman in great detail.

Mr Tate, over a period of several years. monitored the methods that Professor Bowman had created, and utilised his talent for translating complex moves into easy to follow steps, in a manual with fantastic illustration, and example material, to help both the student and teacher, maximise their comprehension, understanding and application of the Bowman playing method.

 

Mr Bowman experienced great difficulty in his late thirties as a concert pianist, in terms of repetitive bouts of tendonitis and other muscular problems. However, after being unable to play for some months, he took the time to learn the anatomy of the arm, hand, wrist and fingers, and really study, by process, trial and error, the methods that would not only allow him to play again, but to do so pain free. The results were nothing less than astonishing, to say the least.


Whilst the initial point was to be able to play the piano again, it turned out to be a blessing in disguise for all Professor Bowman's students as well, as they have reported massive improvement in their playing as well. Now, more people started to take note.


It was well into the process, that Professor Bowman then gave a master class at the University of Pretoria in South Africa, and had a DVD recording made of the class, which has become an essential element of The Magic Touch Course, presented here.  It is through these methods, and subsequent teaching that Professor Bowman further refined his technique, and most people who have actively utilised his method have had substantial success, not to mention an improved tonal quality to their playing as well as less discomfort.


The method is based on the increase of strength and tone in the fingers. This is explained in this classical piano article.


What Are Some Of The Best Ways to Improve My Classical Piano Playing?

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 Admittedly, this is a question that has way too many variables to answer fully. I will, however, concentrate on some common problems, being the way that a pianist approaches the keyboard, so that they may enhance their physique, and play with less injuries.


The injuries I am most referring to are cases of tendonitis, and muscular strain. It would be safe to say that most pianist have suffered from tendonitis at some stage, through their careers, and this is mostly due to the technique that they will be using to play the piano. In an ideal world, the pianist will always have their hands and fingers at exactly ninety degrees to the keyboard, but this is often not the case. The reasons include the fact there are multiple octaves, and the pianist is typically seated at one place on the piano stool.


To overcome these problems, at least to some degree, the pianist needs to be as relaxed as possible, particularly in the arms and hands, with the strength of the fingers delivering much of the power in the note playing. In addition, the hips need to be as relaxed and agile as possible, to facilitate easy movement of the torso, at least to a point, to adjust the body left or right, to allow greater area where the hands can be as close as possible to right angles to the keyboard. Whilst these techniques will aid any piano player, I can relate to specific experimentation and trial and error by the Late Professor Lionel Bowman, who came up with the Bowman method, after having to re learn a style to play the piano, to minimise the great tendonitis he suffered from, as well as other muscular problems.


As part of his method, the technique includes the right finger and hand positioning on the keyboard, often referred to as the 'cobra' position. This requires the hand to be placed with the wrist near the edge of the keyboard, and the fingers placed on the keys where they can also slide back, towards the pianist, and moving the wrist downward. Doing this, particularly during practice, will give the pianist the opportunity to test various pressure levels, of the fingers on the keys, and ultimately, to deliver a superior sound, through strengthened fingers. In addition to this playing method, it has also been suggested as an important part of practice, to 'play' on the lid of the piano, or other, hard, wooden surface. The reason for this being that you need greater strength, and force in your fingers to produce a sound from a piece of wood, than from the piano keys. In other words, if you can sound the piece from the wood, you can certainly do so from the keys, but not necessarily the other way around. This is a part of the Bowman method for strengthening the fingers.


I am deliberately emphasising the strength issue, as this small improvement will contribute wonders to a reduced strain on the rest of the body's muscular system in the hands and arms. As a general rule, when the strength is maximised in the fingers, and the hands and arms are relaxed, and well positioned, the strength can transfer to the keys, without building up as a tension in the arm and wrist, and aid the reduction, if not elimination of tendonitis. Like most things, it requires practice to master the skill. I recommend learning something completely new, as this will be with a new mind set, rather than trying first to unlearn a particular piece, which can be twice as hard. To prove the point, learn something new, applying these principles, and see the change for yourself.


As a side issue, some pianists have also participated in general gymnasium training, where they have found their improved physique has helped them move with more ease 'around' the piano, with less strain.

 

Are you able to store your piano performances for future listening? Have you been having trouble recording your piano performances , for the long term? Not only can you record your performances, but also gain an enhanced comfort and improvement in your playing, with less stress and injury. To learn more, see the therapeutic techniques that are possible for classical pianists.

The Importance of Scales and Arpeggios

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It is no secret that for any pianist, amateur or professional, it is imperative that they commence with a solid warm up prior to launching into a playing session.  In fact, I prefer to think of the scales and arpeggios as part of the playing session. Why and how so?

 

The benefits of playing scales are all about an adequate warm up, and flexibility of the fingers, and hand. Whist I realise that for a beginner, the idea of incurring an injury at the piano may seem a far fetched idea, it is a definite reality for many people, who may not be adopting the right techniques to play the piano. However, far from wanting to put you off, I'd rather that it be an encouragement to simply follow the right techniques, and processes, to adequately tone your hand, arm, and finger muscles.

 

Playing the piano is not about just pushing the right keys in the right order. It is very much more than that, and certainly, a possibility to master as a skill, when approached the right way. 

To illustrate this example, you can start by playing scales, and then, moving up to arpeggios.

 

However, you can also start improvising, and turning the scales in to musical composition, as you progress. 

 

It is not an automatic thing, no, but certainly a way to move forward, when you need to.

 

As the Late Professor Lionel Bowman said, it is always a good idea to start to learn something new, with a new technique, rather than trying to play something you already know,as your mind has already programmed a certain method into your playing for a particular piece. However, what about if you decide to learn something completely new, following a new technique, like the Bowman method?

 

You will find that you develop greater strength in your fingers, as well as the ability to relax more in the hand and arm, thus allowing a greater degree of stress to remain out of the equation.

Tension and stress, mixed with the incorrect sitting posture can dramatically affect your likelyhood of having problems with tendonitis and also muscular aches in general.

However, getting back to my title earlier, the fact that you are playing scales and arpeggios is an important aspect of the warm up process.

 

I realise that it may take a combination of discipline, and sheer  creativity in time, but you will certainly see the result with less injury over the curse of your piano playing career. For that alone, the issue is a fait accompli.

The Classical Piano method- known as the Magic Touch, is available here.

Introduction to The Magic Touch

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Lionel Bowman

 

Between 1978 and 1985 Lionel Bowman paid a number of extended visits to Australia, to give concerts, master classes and individual lessons to a large and enthusiastic following of piano teachers and students at colleges, universities and conservatoria. Participants in these courses were impressed by the extraordinary beauty and technical superiority of his performance, by his inspirational power, and by his unique skill in imparting the secret of these qualities to others. In response to frequent requests for published information and instruction and the obvious need for a more permanent record of it, Professor Bowman and I discussed a plan for me to compile the essential material of his teaching as it now appears in this book.

The contents have been gleaned from vast quantities of notes and audio and video tapes taken from his lecture demonstrations, master classes, workshops, and numerous consultations with him.

Although the manual is not addressed to beginners, teachers will find the relevant procedures invaluable in the instruction of pupils at all levels. Many points of technical and musical interest may be extracted from the book. Nevertheless, the content should be considered as a whole, and studied and practiced accordingly. Although it may have some special applications for pianists who have particular problems now, it will help others to avoid developing such problems later in their playing lives. In addition to this therapeutic effect for all pianists, the miracle is that the Bowman approach also produces a more beautiful sound than that which can be produced by more physically demanding techniques.

Although the book is not focused on the development of virtuosity, it will be found, that through the use of correct muscular procedures, the playing of al passages becomes workable and comparatively effortless. Thus, the student is able to play more comfortably and musically.

No sound, or series of sounds, is ever played without conscious effort while learning. Every sound is controlled with musical intention in slow motion. The way of teaching is essentially one of conscious musical activity through muscular control. Thus, relaxation in this method equals control – not as the word implies, flop.

Over a period of some ten years, I have taught these techniques to teachers, individually and in groups. Gratifying successes resulting from the application of these musical and technical practices have been reported:

 

(a) by teachers who found the approach creative, rewarding and satisfying, even when working with pupils previously discouraged by seemingly insurmountable technical hurdles;

 

(b) by pupils at all levels who found to their delight that they could produce sounds of the quality of professional pianists and play with ease and ever-increasing technical capability, musical awareness, and depth of meaning, and who found themselves looking forward eagerly to lessons as a continual source of encouragement, discovery and fascination;

 

(c ) by parents appreciative of sudden and dramatic development in the quality of their children’s playing and in their attitude to lessons and practice.

 

I shall be forever grateful to Lionel Bowman for his kindness, patience and generosity in showing me these technical and musical procedures which have given me access to a new world of pianistic joy and inspiration. I am thankful that through other dedicated teachers I have been instrumental in sharing this experience in turn with their pupils. If my endeavours through this book are successful in assisting some of that vast army of perpetually striving pianists, I shall be well rewarded by the realisation that a great debt has been paid.

 


Many pianists suffer pain and injury resulting from unsound practice habits; this is indeed regrettable. Any sign of strain should be heeded as a timely warning and remedial action taken

without delay. The following is pertinent.

As a young student, Lionel Bowman practiced with considerable discomfort, as he persevered to overcome the problems imposed by a narrow hand span. Nevertheless, he continued to practice and build a formidable concert career. Eventually the pain became unendurable. The years of physical abuse had taken their toll, causing irreparable damage to ligaments, tendons and muscles.

After this crisis he evolved a series of exercises in muscular coordination founded on the elementary principles of anatomy. He based his teaching on these ideals, and this enabled him to slowly adopt the new ways himself. As a result of these natural and correct procedures, Lionel Bowman felt completely comfortable physically and playing became easier, the tone quality improved immeasurably, and he and his students became fearless, instead of fearful of performance.

Furthermore, he became aware that what we call relaxation in playing should be described as control. This fact will become clear to students as they understand what follows in this book. In very general terms, we are trying to help the average to talented pianist through a set of simplified muscular exercises, to find the way to artistic fulfilment.

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