Piano Players

Piano and the Risk of Tendonitis

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Piano and the Risk of Tendonitis

As someone who has lived through 3 incredibly painful bouts of tendonitis, both in my left arm and right arm, I thought it important to pass on some information that has helped me deal with this in the past.



It is important to understand that playing the piano can cause serious injuries such as tendonitis and carpel tunnel syndrome. Both these ailments are known as repetitive strain injuries. The constant up and down, side to side movement of the arms and fingers when playing piano for long periods of time is what causes these injuries.



This is common among piano players. In fact, it is so common that there is a special clinic in Hamilton, Ontario called the Musician’s Clinics of Canada that deals with the prevention and rehabilitation of musician injuries. Naturally their patients include other instrumentalists like violin and guitar but, pianist injuries are certainly among the most common.



What can be done when a pianist gets tendonitis or carpel tunnel syndrome? Well, certainly there are conventional methods of dealing with the inflammation and pain. Unfortunately these types of treatments such as; anti-inflammatories, pain medications and physio therapy are designed to treat the symptoms. Therefore, once the pianist goes back to playing the piano without being completely healed the injuries can re-occur and in the end be quite difficult to get rid of.

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It is not uncommon for tendonitis to stick around for very long periods of time. In my case, I once had a problem with my right arm that took almost 3 years to get better. The problem is of course that, as a professional I can’t possibly just stop playing the piano. I can take breaks in between concerts but usually I can only take up to a month’s rest at a time. 



So, how can these injuries be cured while still continuing to play? It’s important to understand that not every case is the same but, for me, I actually had to re-learn how to play the piano the correct way. I realized, after visiting the musician’s clinic, that I had the completely wrong approach to playing piano. Specifically, I was too close to the keyboard, I had the wrong wrist position, the wrong finger position and I didn’t understand the concept of leverage.



Leverage means to use the entire body to create volume on the piano. I was trying to create volume by forcing the keys down with forearm strength instead of using the entire body. Therefore, my arm muscles and joints suffered from the strain of trying to play too loud. What I eventually realized, with the help of the musician’s clinic doctor was that, I needed to create velocity as opposed to force. Once the key reached the bottom of its natural movement it can go no further. Yet, I was trying to force the note passed its end without even realizing it.



The correct way is to drive the note down with extra velocity using the back, shoulders, biceps, arms, wrists and fingers and then release at the exact moment the key reaches its lowest point. Therefore, it’s the velocity of the hammer hitting the string that creates volume. Knowing when to let up is very important in the fight to prevent injury.



In terms of moving the piano bench back, I had to learn also to sit with better upright posture and to generate leverage using my entire body. It’s easier to do this with the right foot (pedal foot) forward and the left foot back under the bench. Then as you pivot forward and backward on the bench you have more balance and leverage.



Once last point I should mention; exercise is very important. I started weight training several years ago because, I find that the extra muscle helps a great deal in preventing injury. Be careful however, to consult a professional when starting weight training. You must do it the correct way in order for it to be beneficial.

 

Paul Tobey – About the Author:

 

Learning piano lessons takes motivation that sometimes can be missing. Paul Tobey’s online piano lessons are perfect for anyone who may be considering learning to play better piano. He a free piano lesson to new members.





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Piano and the Risk of Tendonitis

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Piano and the Risk of Tendonitis

Piano and the Risk of Tendonitis
By Paul Tobey

As someone who has lived through 3 incredibly painful bouts of tendinitis, both in my left arm and right arm, I thought it important to pass on some information that has helped me deal with this in the past.

It is important to understand that playing the piano can cause serious injuries such as tendinitis and carpel tunnel syndrome. Both these ailments are known as repetitive strain injuries. The constant up and down, side to side movement of the arms and fingers when playing piano for long periods of time is what causes these injuries.

This is common among piano players. In fact, it is so common that there is a special clinic in Hamilton, Ontario called the Musician’s Clinics of Canada that deals with the prevention and rehabilitation of musician injuries. Naturally their patients include other instrumentalists like violin and guitar but, pianist injuries are certainly among the most common.

What can be done when a pianist gets tendinitis or carpel tunnel syndrome? Well, certainly there are conventional methods of dealing with the inflammation and pain. Unfortunately these types of treatments such as; anti-inflammatory, pain medications and physio therapy are designed to treat the symptoms. Therefore, once the pianist goes back to playing the piano without being completely healed the injuries can re-occur and in the end be quite difficult to get rid of.

It is not uncommon for tendinitis to stick around for very long periods of time. In my case, I once had a problem with my right arm that took almost 3 years to get better. The problem is of course that, as a professional I can’t possibly just stop playing the piano. I can take breaks in between concerts but usually I can only take up to a month’s rest at a time.

So, how can these injuries be cured while still continuing to play? It’s important to understand that not every case is the same but, for me, I actually had to re-learn how to play the piano the correct way. I realized, after visiting the musician’s clinic, that I had the completely wrong approach to playing piano. Specifically, I was too close to the keyboard, I had the wrong wrist position, the wrong finger position and I didn’t understand the concept of leverage.

Leverage means to use the entire body to create volume on the piano. I was trying to create volume by forcing the keys down with forearm strength instead of using the entire body. Therefore, my arm muscles and joints suffered from the strain of trying to play too loud. What I eventually realized, with the help of the musician’s clinic doctor was that, I needed to create velocity as opposed to force. Once the key reached the bottom of its natural movement it can go no further. Yet, I was trying to force the note passed its end without even realizing it.

The correct way is to drive the note down with extra velocity using the back, shoulders, biceps, arms, wrists and fingers and then release at the exact moment the key reaches its lowest point. Therefore, it’s the velocity of the hammer hitting the string that creates volume. Knowing when to let up is very important in the fight to prevent injury.

In terms of moving the piano bench back, I had to learn also to sit with better upright posture and to generate leverage using my entire body. It’s easier to do this with the right foot (pedal foot) forward and the left foot back under the bench. Then as you pivot forward and backward on the bench you have more balance and leverage.

Once last point I should mention; exercise is very important. I started weight training several years ago because, I find that the extra muscle helps a great deal in preventing injury. Be careful however, to consult a professional when starting weight training. You must do it the correct way in order for it to be beneficial.

Piano lessons are becoming more popular on the internet every day. Paul Tobey gives online piano lessons that not only focus on making better music but on the business end of the music business to help aspiring artists succeed. Take a free piano lesson today.

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How Can I still Play the Piano After Experiencing Tendonitis and Other Hand Injuries?

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It is not uncommon for professional, or serious, regular pianists to experience various hand injuries over the course of their piano playing days. This is particularly problematic for people who may have small hands, and who play complex works, such as the Rachmaninov Concerto Number 3, and so on. However, this problem is certainly not confined to only classical pianists, or even professionals. These various injuries can affect just about any pianist, casual or professional, from time to time.


The most typical injuries include tendonitis, and wrist strain, mostly as a result of either not having sufficient strength built up in their fingers and hands, as well as other playing issues such as correct position at the piano. This is by no means an exhaustive list, but a common list of problems, as I have mentioned earlier.


For some piano players, the thought may even have crossed their mind to give up playing, due to the repetitive injuries. Whilst this is an extreme option, there are other ways to reduce the injuries, and actually end up by playing better. One method that has been proven by many students after being adopted is the Bowman method.


Professor Lionel Bowman was a distinguished piano player, at the peak of his career around his late thirties, who had developed very great problems with tendonitis. After having to actually stop playing for a number of months, while his hand healed, he took the time to actually study the anatomy of the hand and arm, and created his own method of playing the piano. His style has enabled him to become a better teacher, and his crowning achievement through this process was that he not only was able to resume his playing, but succeeded in helping others play better, with less incidence of injury as well.


The Bowman method encompasses the strengthening of the fingers, as well as an overall approach to muscle coordination. Far too many people start to play the piano a certain way, and find that, over the years, their discomfort increases, due to the method of playing that creates tension and stress in the joints as well as fingers.


One aspect of the method is about sitting in the right place, with reference to the notes being played. As an example, the hips need to be loose, in that for certain parts of the score, the pianist will need to sit right, or site left, and even sit back, to allow the wrists to become lower then the keys. By moving the hips, so the pianist's body is in front of, and at right angles to the keyboard, will minimise the stress on the wrists as well as muscles of the wrist, and tendons.


It can often aid the pianist to make specific notes on the music score, like sitting right, or sitting left, as this will aid the pianist to achieve an optimum posture and comfort. This comfort will translate into relaxation, and thus, a better overall sound as well as reduced injuries.


 

This technique needs to be practiced, and actually, it can be beneficial to start learning a new piece, rather than trying to relearn an already known piece of music. The best proof is in the action, and seeing for yourself.

 

 


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 Magic Touch.  

Can I Overcome Hardship in my Life and Career?

admin Keyboard Technique, Lionel Bowman, Overcoming Adversity, Piano Method , , , , , , , , , , , , , , , , , , , , , , , , ,

I think this is an important questioon to ask ourselves, time and time again, when difficulty strikes, as inevitably, we can all suffer from set backs from time to time.


As you are no doubt only too well aware, the difference between the winners and the losers, to use a term, is the mindset we apply, as well as our creativity…



What do I mean here?


Well, whilst I am going to refer to Lionel Bowman as my subject in this example, there are countless people who have mixed sheer determination, creativity, and  opportunity to turn an otherwise seemingly bleak situation into a benefit, not only for themselves, but for others as well.

 

I was greatly privellaged to be given the honour and opportunity to transcribe the manual on The Magic Touch, or Therapeutic Techniques for Pianists to an electronic format

In so doing, I was able to learn about the human spirit in overcoming adversity, and that lesson alone, if for nothing else, was worth its weight in gold.

 

However, being a piano player, either for pleasure or professional gain, the impact of this manual compounds itself greatly, and provides a light to all pianists experiencing pain and difficulty in playing various complex works. This can greatly enhance the difficulty that many people with small hands may also be experiencing.

 

Mr Wallace Tate has successfully taken a complex subject matter, and explained it in a readable, and relatively easy way to understand. This skill, in itself is a rare gem, and I can thoroughly recommend the manual to all serious piano players. 


Having learned the piano myself, I could certainly have benefited from this information many years ago. The bonus fact, however, is that it is not too late to implement the techniques created by Professor Bowman. The book, apart from a learning tool of great value, is testimony to man's ability to overcome all difficulties, no matter how seemingly hard, at the time. It also has benefited countless students to massively enhance their playing technique, and resulting sound at the keyboard.

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