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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..f64d865 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #67375 (https://www.gutenberg.org/ebooks/67375) diff --git a/old/67375-0.txt b/old/67375-0.txt deleted file mode 100644 index 3176eeb..0000000 --- a/old/67375-0.txt +++ /dev/null @@ -1,2670 +0,0 @@ -The Project Gutenberg eBook of Jackson's Gymnastics for the Fingers -and Wrist, by Edwin Ward Jackson - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Jackson's Gymnastics for the Fingers and Wrist - being a system of gymnastics, based on anatomical principles, for - developing and strengthening the muscles of the hand for musical, - mechanical and medical purposes: with thirty-seven diagrams - -Author: Edwin Ward Jackson - -Engraver: Berndt - -Release Date: February 11, 2022 [eBook #67375] - -Language: English - -Produced by: Charlene Taylor, Les Galloway and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK JACKSON'S GYMNASTICS FOR THE -FINGERS AND WRIST *** - - Transcriber’s Notes - -Obvious typographical errors have been silently corrected. Variations -in hyphenation have been standardised but all other spelling and -punctuation remains unchanged. - -Italics are represented thus _italic_. - - - - -_In preparation._ - - - A Hand-book of Bodily Exercises, based upon A. Ravenstein’s - “Volks-Turnbuch,” and edited by E. G. Ravenstein, F.R.G.S., &c., - President of the German Gymnastic Society of London, and John Hulley, - Director of the Athletic Club, Liverpool. In one volume, 8vo, pp. 400, - and 700 woodcuts. - -This will be the most complete work on Gymnastics and all descriptions -of bodily exercises ever published in the English language. - -CONTENTS: History of Gymnastics—Constitution of Gymnastic -Societies—On the manner of conducting the Exercises—Distribution -into Squads—Training of Instructors—Gymnastic Festivals and -Competitions—Sanitary Rules—Exercises without apparatus—(free -exercises, walking, running, co-operative and facto-gymnastical -exercises, wrestling, boxing, &c.)—Exercises with portable apparatus -(wands, dumb-bells, clubs, bars, &c.)—Exercises at fixed apparatus -(rack, parallel bars, horse, buck, climbing and escalading, leaping and -vaulting, swings, &c.). - - -LONDON: N. TRÜBNER & CO., 60, PATERNOSTER ROW. - - - - - JACKSON’S - - GYMNASTICS FOR THE FINGERS AND WRIST, - - BEING - - A SYSTEM OF GYMNASTICS, - - BASED ON ANATOMICAL PRINCIPLES,—FOR DEVELOPING AND - STRENGTHENING THE MUSCLES OF THE HAND; FOR MUSICAL, - MECHANICAL, AND MEDICAL PURPOSES. - - With thirty-seven Diagrams. - - LONDON: - N. TRÜBNER & CO., 60, PATERNOSTER ROW. - 1865. - - [_Right of Translation reserved._] - - -The whole of the Engravings contained in this work were executed for -the author by Berndt, in Berlin, July, 1864. - -The apparatus referred to in this work may be had, price 3s. 6d., of -Messrs Metzler & Co., 36 to 38, Great Marlborough Street, W. - - - JOHN CHILDS AND SON, PRINTERS. - - - - - PREFACE. - - -The subject of this little work develops, on anatomical and -physiological principles, a system of Gymnastics for the Fingers -and Wrist, the object of which is—, to lay a solid and scientific -foundation for the acquisition of technical skill in the fingers -and wrist, as applied to the playing on musical instruments and to -finger-work generally. - -For a detailed account of the circumstances under which this system -was discovered, I refer to the Introductory Remarks, wherein I have -explained the process of reasoning and the series of experiments, -which enabled me to arrive at the results I have now the pleasure of -submitting to the consideration of my countrymen; more especially to -all those among them who are engaged in musical pursuits, or any other -work requiring the constant use of the fingers. - -I may simply state that both the scientific principles and the -practical utility of this system of Gymnastics—, after having been -subjected to the test of numerous experiments—, have met with the -approval of the highest anatomical, musical, and gymnastic authorities -of Germany; at whose special solicitation I was induced to make these -discoveries known by means of public and private lectures—, delivered -gratis in the German language in many German cities—, during a journey -undertaken at my own expense, in the course of the summer of 1864. - -I gladly avail myself of this opportunity to return my best thanks -to Professors Hyrtl, Virchow, Hermann Meyer, and Griesinger; to -Drs Richter, C. C. Carus, J. V. Carus, Berend, and Angerstein; to -Professors Moscheles, Kullak, Stern, Geyer, Kittl, Joachim, and -Lauterbach; to Capellmeister Taubert, Ferdinand Hiller, Lachner, -Strauss, Abenheim, Täglichsbeck, and Meyer; to Concertmeister F. -Schubert, Carl Baermann, Scholtz, Singer, Grün, and many others whom -space precludes me from mentioning here,—for the assistance they have -given me, and for the kind and favourable reception which they, the -press, and the public generally, gave to my lectures. - -And I indulge the hope that this little work may meet with the same -approval from the medical, musical, and gymnastic authorities in this -country, and be a means of practical utility among those for whom it is -more particularly intended. - -In all the gymnastic establishments throughout Europe and the civilized -world, gymnastic exercises have been introduced for every part of -the body _except for the Fingers_, notwithstanding that it is these -important members of the human frame—with the mental organs—which -chiefly distinguish Man from the Brute creation. - -Therefore I venture to dedicate to the public—, “Gymnastics for the -development of the Muscles, Ligaments, and Joints of the Fingers and -Hand”—, specially adapted to - -Musicians of all classes, - -Authors, and all who are occupied much in writing, - -Artists and Draughtsmen, - -Printers and Compositors, - -Lithographers and Engravers on steel and copper, - -Workers in ivory and wood, - -Watch-makers and fine Mechanicians. - -Spinners and Weavers, for - -All female handiwork, for - -Surgical and anatomical processes, for the treatment of rheumatism, -contortions, and other diseases of the Fingers and Hand,—and for - -All those who require a flexible Hand, or who earn their bread with -their Fingers. - - EDWIN W. JACKSON. - - _September_, 1865. - - - - - CONTENTS. - - - PAGE - - PREFACE. - - INTRODUCTORY REMARKS ON THE ORIGIN OF THIS - SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST 1 - - CHAP. - - I. ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, ETC. 16 - - II. THE MUSCLES OF THE HAND AND OF THE FINGERS 22 - - III. EFFECTS OF THIS GYMNASTIC TREATMENT ON - THE MUSCLES, LIGAMENTS, AND JOINTS OF - THE FINGERS AND THE HAND 29 - - IV. NEGLECT HITHERTO OF THE HAND AND FINGERS 35 - - V. THE FINGER-JOINTS ARE THE LEAST EXERCISED, - AND THE WEAKEST 39 - - VI. THE PRINCIPAL DIFFICULTY DOES NOT CONSIST - IN THE READING OF MUSIC, BUT IN - THE WEAKNESS OF THE FINGERS 41 - - VII. MUSIC IS THE ART WHICH MAKES THE HIGHEST - DEMANDS ON THE MUSCLES OF THE FINGERS. MOVING - THE FINGERS UP AND DOWN INSUFFICIENT 44 - - VIII. ARTISTS AND TEACHERS OF MUSIC 46 - - IX. FREE GYMNASTIC EXERCISES FOR THE FINGERS AND THUMB 49 - - X. FREE GYMNASTIC EXERCISES FOR THE THUMB 55 - - XI. FREE GYMNASTIC EXERCISES FOR THE WRIST 58 - - XII. MECHANICAL FINGER-EXERCISES 63 - - XIII. MECHANICAL FINGER-EXERCISES (CONTINUED) 70 - - XIV. MECHANICAL FINGER-EXERCISES (CONTINUED) 80 - - XV. BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY - THOSE OF THE THUMB AND THE LITTLE FINGER 84 - - XVI. ON STRINGED INSTRUMENTS IN PARTICULAR. - THE WRIST OF THE RIGHT HAND 86 - - XVII. CONTINUATION 89 - - XVIII. CONTINUATION. STACCATO 92 - - XIX. CONCLUDING REMARKS 95 - - - - - INTRODUCTORY REMARKS - - ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST. - - -If any one should desire to know how and in what manner I, as a private -individual, came to hit upon these discoveries, I answer simply: - -Six years ago I took my family, principally consisting of daughters, to -Germany, to have them educated there, and especially to obtain for them -good instruction in music. I soon found that the method of teaching the -pianoforte then in general use was very fatiguing and trying to the -nerves; at the same time, as Germany stands at the head of the musical -world, that method, as a matter of course, must be considered the best -which we at present know. In order to investigate that system more -minutely, I visited several musical schools and conservatories for -music in Germany, inquiring what was the very best method known for -strengthening the fingers and wrist, for bringing them into order and -preparing them to play the pianoforte? The answer I everywhere received -was as follows: “The chief difficulties and impediments to be overcome -in teaching the piano, the violin, and almost all other musical -instruments, are muscular, and lie in the joints of the fingers and -wrists; and the very best method of rendering them strong and flexible -is frequently and perseveringly to move the fingers up and down on the -instrument, preserving the hand in the same position. This movement, -together with the usual finger-exercises, if continued for five or six -years, and diligently carried out, is usually sufficient to render the -joints and muscles of the fingers agile and flexible, and to bring the -fingers generally into order.” - -I inquired further, “Are those exercises not very fatiguing?” to which -I was answered, “They certainly are very trying to the muscles and -nerves;” and whether “the health of the students, male and female, did -not suffer thereby?” to which the reply was, that it did, and that, -indeed, it was sometimes necessary for them to discontinue playing for -some months; but then they added, “It must be remembered that learning -to play the piano was in itself at all times attended with very -considerable difficulties.” - -I observed that this result was really lamentable; and inquired whether -there did not exist any other method for obtaining the same end and -becoming proficient on the piano? To this I received a negative answer, -and was again told, “After all possible experiments, it is the opinion -of all artists and teachers at the present time, in all cities in -Europe, that the method alluded to is _the most effective_ of any we -know for imparting quickness and flexibility to the joints of the -fingers and wrist.” - -Now on observing that my daughters suffered in the same manner, I said -to myself, “There must surely be something wrong here.” And here I -would mention the fact that when I was 12 or 13 years of age I learnt -the violin, and afterwards for upwards of 35 years discontinued it. -But later in life, desiring to accompany my children, I was induced -to take up the violin again. I then found that, although I was in -all other respects exceedingly strong and healthy and capable of -all athletic exercises, my fingers and hand in a few minutes became -painfully fatigued. The same result followed whenever I took the violin -in hand,—in fact, I found that my fingers were the only weak parts of -my body. This happened a few years ago, about the same time when the -above-mentioned inquiries took place, exciting in me great surprise and -an earnest desire to search into the cause. I thought to myself, “There -must underlie some unknown hidden cause to account for this phenomenon. -I will thoroughly probe the matter.” For this purpose I now put myself -in the way of those individually who earn their bread by the sweat of -their brow, viz., the smith, the joiner, the bricklayer, the labourer, -the peasant, the gardener, the wood-cutter, the miner, &c. &c. I found -that all these persons work with their _arms_, and thereby acquire -muscle like steel and arms like giants; but that none of them work with -their _fingers_. - -After this I visited boys’ and girls’ schools, and also observed them -in their families; and there I found again that nearly all of them in -their work made _no use_ of the _fingers_. The same observation I made -with the educated classes, of every age and sex. - -This discovered to me the fact that the muscles of the fingers are -_extremely little exercised_ in the ordinary occupations of life; and -must, therefore, on physiological ground, be weak; a fact of much -importance. - -I then repaired to the most renowned gymnastic establishments of the -Continent, and begged to be shown all the varied gymnastic exercises -practised on the body, from the crown of the head to the sole of the -foot, and when all these various movements had been exhibited before -me, I inquired “But where are your gymnastic exercises for the -_fingers_?” “We have none.” “Why?” “We never thought of it.” “But they -require them surely as much or more than all!” “It has never occurred -to us; we did not know the fingers required gymnastics, and they have -been entirely overlooked.” This disclosed to me another great fact; -namely, that the fingers are the _only active members_ of the human -body to which a properly constituted system of gymnastic exercises has -NOT been applied. - -I thereupon visited houses and institutions where men _do_ work with -their fingers, viz., where carvers in wood and ivory, in steel, copper, -and stone, painters and draughtsmen, watchmakers and fine mechanists, -spinners and weavers, printers and compositors, &c., drive their trade, -and after that, people who are in the habit of writing much, and even -the whole day, such as authors, copyists, clerks, stenographers, -lithographers, as well as sempstresses and workwomen;—in short, all -those who have much finger-work, or earn their living by their fingers. -And here I observed all kinds of finger diseases, such as stiffness of -the joints and limbs, writers’ cramp, hands and forearms debilitated -in the highest degree, paralyzed limbs, nervous weakness, &c. Then -I said to myself, “A light begins to dawn upon me. I find, _first_, -that the fingers are the least exercised, in the ordinary occupations -of life, of all the active members of the body; _secondly_, that they -are on that account relatively and physiologically the weakest; and, -_thirdly_, that they are also the _only_ active members which are not -gymnastically trained and treated. I must consider the matter now -ANATOMICALLY, PHYSIOLOGICALLY, and GYMNASTICALLY.” - -And I forthwith began to make all sorts of artistic and mechanical -experiments, for the purpose of gymnastically exercising, stretching, -and developing the muscles, the ligaments, and joints of the fingers -and hands in all directions, so as to strengthen and prepare them for -playing the piano and the violin, as well as other instruments, and for -all kinds of finger-work and handicraft. - -In doing so I studied the physiology of the muscles and ligaments, and -directed especial attention to the _transverse metacarpal ligament_. -In comparing this anatomy with the difficulties experienced, I sought -to discover a means more particularly of stretching the _ligaments_ or -bands which run _transversely_ across the hands and knuckles. This I -succeeded in effecting, and then I discovered, to my astonishment, that -the moment I had applied my gymnastic movements to these stout and very -obstinate elastic bands, the _muscles_ became instantaneously looser, -and moved with greatly increased freedom and agility. In a word, the -_muscles were set free_. - -At the same time I tried on _myself_ various simple, natural, free -movements with the joints of the fingers, in order to examine them -practically and physiologically, and thus to found a system on solid -principles. And I may here be permitted to state as the result, -in my own case, that though at that time 54 years of age, after I -had diligently practised the course of gymnastic exercises herein -described, a comparatively short time, every day, my fingers and wrists -became so strong and flexible that I was able to play, and can now -play upon the violin many hours daily in succession without fatigue. - -I caused the same to be tried by many other persons also, of different -ages. Then I found, to my surprise, in each case that, in the absence -of proper gymnastic exercises, these most important parts of the human -frame, owing to their being so unpractised in the ordinary occupations -of life, and being consequently so weak, are not equal to the least -work or exertion beyond the usual movements of daily life, and that -whenever anything beyond the ordinary routine is required of them, they -are found to be utterly incapable of fulfilling the task. - -Then I said to myself, “I now see as clear as sunlight whence arise the -extraordinary difficulties of learning to play the piano and violin. -They arise from the very fact that an art the most difficult, from a -muscular point of view, which we know of, has to be performed with the -_least practised_ and, proportionately, the _weakest of muscles_. The -impediments and difficulties in almost all cases can be referred to -the muscles; and it is this weakness which must be overcome.” - -Upon this I repaired to anatomical, chirurgical, and medical -institutions, in order to study still further the anatomy of the -hand, the fingers, and the arm. I found that the muscles, the -ligaments, and the tendons of the fingers and hands consist of elastic -masses, intersecting the hand, and running TRANSVERSELY as well -as LONGITUDINALLY; and I especially discovered, after a number of -experiments, that the TRANSVERSE LIGAMENTS, _unless they be exercised, -remain quiet and stiff, and impede to a certain extent the movements -and activity of the muscles_, when the latter are more than ordinarily -exerted; that in order practically to exercise and stretch them, and -particularly the TRANSVERSE ligaments and tendons, and to render them -strong and supple, it is necessary not only to move the fingers up and -down, but laterally also; that, in short, both muscles and ligaments -ought to be practised gymnastically; and that the fatigue and the -danger to health, the nervous weakness and the disgust often observed -in musical students, arise from the following causes: - -_Firstly_, that the muscles, tendons, and ligaments of the hand and -fingers are, proportionately, the least practised, and, consequently, -as stated before, the weakest; - -_Secondly_, that they have never been gymnastically trained or treated; - -_Thirdly_, that the methods now in use for strengthening those weak -muscles and rendering them flexible are insufficient and erroneous; - -_Fourthly_, that the _transverse ligaments have never been stretched_; -thus on these several grounds hampering the learning of music with -unnatural difficulties, and with exertions of the muscular and nervous -system injurious to health; - -_Fifthly_, that so soon as the muscles are properly and gymnastically -exercised, and the ligaments and tendons stretched, the fingers set at -liberty move glibly and freely over the instrument; and, - -_Sixthly_, that all this is readily accounted for on the simplest, -though till now unexplained, anatomical and physiological grounds. - -And as regards the different persons and classes already mentioned, -who earn their living with their fingers, it would have been easy to -prevent the various diseases of the same to which they are exposed, -if the joints of their fingers and hands had previously been daily -practised, strengthened, and prepared by transversal and longitudinal -gymnastic exercises. And more than this, those sad infirmities -might, in most cases, either have been entirely cured or at any rate -alleviated by the above muscular treatment. Besides, a continuance of -the same diseases would be easily obviated, if such treatment were -resorted to. - -Then I asked myself, “Is any one to blame that the facts just mentioned -have not been previously known and acted upon?” No one. It certainly is -not the fault of the artist and teacher, because their task, so great -in itself, did not necessarily lead them to direct their attention to -this speciality of gymnastics. Nor could anatomists and physicians, -nor other learned men, in treating problems more nearly, and perhaps -more important in themselves, be expected to have thought of it. As we -are frequently indebted to chance for the most important discoveries, -so it has been with this one. For my part, I lay claim to very little. -The idea had taken hold of me that a hiatus and a want in the method of -learning and practising music, also in finger-work of various kinds, -existed, and I set to work to fill up the former and to satisfy the -latter. For several years I have indefatigably pursued this work in -Germany, and after multifarious trials, experiments, and exercises, -I have happily achieved the following simple system of gymnastics, -whose aim and object, as regards _music_, after full and complete -proof, are; by strengthening the muscles and stretching the ligaments -through careful training, to impart to them flexibility and agility, -to shorten considerably the time of study, and facilitate the work of -both teachers and students; whilst as regards all classes generally who -work with their fingers, it is calculated to a great extent to render -their work more easy, and in case of disease of the fingers and hands, -to prevent it, to cure it, or at the least to diminish its injurious -consequences. - -Having been requested by the highest anatomical and artistic -authorities in Germany to give publicity to this method and to explain -it personally, I undertook, in 1864, at my own expense, from love -of the art, a journey through many towns of the Continent, where, -as already stated, I delivered, in the German language, a number of -private and public lectures on the subject. And here I desire specially -to crave the forgiveness of my kind German friends, if, in delivering -those lectures, I did not at all times express myself in accents of -the purest German, since I only commenced the study of that difficult -language,—for the first time in my life,—six years ago, after I had -attained the age of 52 years. The exposition of this method having met -with cordial approval, I now offer the result of my labours to artists, -musical students, and to all friends of music, as well as to all those -who work much with their fingers, or who suffer from finger disease; -also to anatomists, physiologists, surgeons, and gymnasts; indulging -the hope that, if applied correctly and carefully, they will go far -towards removing the evils to which I have alluded, and be of much -practical usefulness and advantage. - - - - - CHAPTER I. - - ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, &c. &c. - - -The skeleton of the hand, consisting of 27 bones and moved by 40 -muscles, most ingeniously combines firmness with pliant flexibility, -is equally fit for rough work and the most subtle occupation, and -corresponds in its well-balanced mechanism with that mental superiority -through which man, amongst all creatures the poorest in means of -defence, becomes the ruler of living and inanimate nature. The hand, -fixed to the end of a long articulated column of bones, and, through -its skin-covering, particularly in the cavity, endowed with high -sensibility, raises itself to the importance of an organ of feeling, -which, moveable in all directions, apprizes us of the extent of -matter, and of its physical qualities. - -The most ancient forms of measurement have, therefore, been taken from -the length of the several subdivisions of the hand. The capability -of the hand of assuming the hollow shape of a spoon, and of being -stretched like a shovel, determines its use for gathering and for -turning up matter. The curvature of the fingers forms a strong and -broad hook, which renders excellent service in climbing; and the thumb, -whose position enables it to be placed opposite all the other fingers, -acts in conjunction with the latter like a pair of pincers, capable of -seizing and feeling smaller objects. The thumb being easily moveable -and strong at the same time, is a privilege of the human hand. It -powerfully opposes itself against the other fingers into the _fist_, -for the seizing and holding of heavy objects. In doing this the thumb -indeed performs almost as much as the remaining fingers taken together; -it represents one half of a pair of pincers, wherefore _Albin_ has -called it _Manus parva_. - -The unequal length of the fingers is well adapted for the taking hold -of spherical forms, and the fingers being bent towards the hollow of -the hand and held together, encloses an empty space, which is shut by -the thumb serving as a lid. The wrist of the hand, having a circular -shape, and being composed of several bones, is much less exposed to -the danger of being broken, than if one single curved bone were to -take its place. Its cavity, which by _strong transversal ligaments_ is -transformed into a ring, protects the bending tendons of the fingers -from pressure and friction. The firm connection between the middle hand -and the wrist renders possible the actions of _stemming_ and _hurling_ -with the hands, and the longitudinal curve of the separate bones of -the middle hand, as well as their lying one at the side of the other, -and convexly towards the back of the hand, facilitates the forming of -the cavity of the hand. The great moveability of the fingers, and the -many possible combinations of their relative positions, have made them -the instruments of language by signs. The deep slits separating them -allow of folding the hands, in order to press with double force, and -the bending of the two last finger-joints, which can only take place -at an angle, imparts to the clenched fist a force which once usurped -the place of right. How necessary the joint action of both hands is for -certain performances is proved by the old proverb: _Manus manum lavat_. -In short, all the thousandfold occupations of the hand which necessity -commands and the mind develops, and which are an exclusive prerogative -of man, become practicable through the wonderful structure of this -instrument.[1] - -As regards the system of the gymnastic training of the fingers in -particular, which I am now placing before the public, it is founded on -an important fact, namely, the action of the LIGAMENTS AND TENDONS. - -It has been acknowledged at all times, that if a muscle is to be -made both stronger and quicker in its movements, it should be -exercised; that the ligaments and tendons play, in these exercises, -an indispensable part, has hitherto (to use the words of a celebrated -German physiologist), hardly been sufficiently acknowledged or -explained. It is further known, that the principal method now in use -of strengthening and rendering flexible the joints and muscles of -the fingers in playing the piano, consists in alternately raising -and dropping the fingers, and that this method requires very great -exertion, and consumes very much time. Now, I have found, by means -of many different experiments and exercises, which I have made with -the hand and the fingers, that the tight ligaments and skin-folds, -intersecting the hand _transversely_, unless they be exercised, and -if they be allowed to remain firm, for this very reason, _impede the -movements of the muscles_ whenever they are more than ordinarily -exerted; while, on the contrary, the stretching of the _transversal -ligaments_ produces a remarkable influence on the moveability of the -fingers and the hand, facilitates the work of the _muscles_, and -imparts to them freedom, steadiness, and precision. - -By placing the cylinders to be used for this purpose between the -fingers for only a very short time, and thereby exercising the -_ligaments_ of the hand, both _transversely_ and longitudinally, the -movement of the fingers is at once rendered much easier and quicker. -This result can only be explained by the fact that the ligaments -and folds of the hand, having been stretched by the cylinders, have -become loosened, and, therefore, as I said before, impede less the -muscles in their fatiguing work. If, on the other hand, all the -muscles, ligaments, and tendons are put into motion in both directions, -longitudinally and transversely, they soon become strong and flexible. - - -FOOTNOTES: - -[1] Joseph Hyrtl: Lehrbuch der Anatomie. 4te Auflage. Wien, 1855. -Erasmus Wilson, F.R.S., System of Human Anatomy. 8th Edition. London, -1862. - - - - - CHAPTER II. - - THE MUSCLES OF THE HAND AND OF THE FINGERS. - - -Leaving aside the vessels and nerves unconnected with our subject, we -may describe the hand as being composed of three classes of organs, 1. -bones with joints, 2. ligaments, 3. muscles. - - -1. BONES WITH JOINTS. - -The hand is subdivided into five separate limbs (fingers), lying one -at the side of the other, and being, at the lower end, firmly joined -together into one whole. Each of these five limbs (fingers) is composed -of a row of bones, having the nature of long bones. The first of these -bones, next to the lower arm, is called the metacarpal or middle-hand -bone (Fig. 1 _a_); the others are called finger-joints. The thumb has -only two finger-joints, the other fingers three each. The _fourth and -fifth fingers are the weakest of all_. - -[Illustration: Fig. 1.] - -The union of the five fingers into one whole is effected by means of -the extremities of the middle-hand bones, commonly known as knuckles, -which are turned towards the forearm, being connected with one another -by _very tight transversal ligaments_ (Fig 2 _aa_ and Fig. 3 _bb_), -and being thus connected, are again fixed to a row of four roundish -bones, joined to one another in the same manner (Fig. 1 _b_). Thus, the -five middle-hand bones and the four bones of the upper wrist form one -firm structure. In this structure the middle-hand bone of the thumb and -of the little finger can be more easily moved than the others. - -[Illustration: Fig. 2.] - -On account of this moveability of the two extreme middle-hand bones, -it is possible to move the two edges of the hand close to one another, -whereby the cavity of the hand assumes the shape of a groove. - -The structure here described (the hand, in the narrower sense of -the word) is joined to the lower arm by means of three muscles, -the posterior row of the bones of the wrist (Fig. 1 _c_). The -movement between these bones and the hand is hardly anything but a -hinge-movement; that between them and the lower arm, however, is a -movement in almost all directions. The bending and stretching of the -hand is, therefore, produced with the participation of both joints, the -side movement of the hand, however, almost exclusively by the joint -situated between the posterior row of the bones of the wrist and the -lower arm.[2] - - -2. LIGAMENTS. - -All the finger-joints are provided with capsules, which are woven out -of strong _transversal_ fibres (Fig. 3 _aa_). The bones of the wrist -are connected between themselves and with the bones of the middle-hand -by tight transversal and longitudinal ligaments, as seen in Fig. -2 _aa_, _bb_. Lastly, the _two ends of the middle-hand bones, or -knuckles, are connected with one another and with the first joints of -the fingers by a separate strong, transversal ligament_ (Fig. 2 _aa_, -Fig. 3 _bb_). - - -3. THE MUSCLES OF THE HAND consist - -1. Of muscles (four in number) rising from the lower arm and bending -the wrist up and down, right and left (Fig. 3 _c_, _d_, _e_). - -2. Of muscles of the fingers. These are subdivided into— - -_a._ Extensors of the fingers, being situated in the back part of the -hand and rising from the bones of the lower arm (Fig. 4 _a_). - -_b._ Benders of the fingers. Two muscles, the one for the second joints -of the fingers (Fig. 3 _d_), the other for the first joints of the -fingers and the joints of the nails (Fig. 3 _e_) also rising from the -bones of the lower arm. - -[Illustration: Fig. 3.] - -c. Contractors of the fingers, rising from the hand itself, between -the bones of the middle-hand (Fig. 4 _b_), and extending as far as the -first finger-joint (Fig. 4 _b_). - -d. Two muscles, also rising from the cavity of the hand, and moving the -little finger towards the thumb (Fig. 3 _g_). - -Lumbricales, or Flexores primi Internodii Digitorum, are situated in -the hollow of the hand, and pass to their tendinous implantations -with the interossei at the first joint of each finger, externally -and laterally, next the thumb (Fig. 4 _a_, _b_). These perform those -minute motions of the fingers when the second and third internodes -are curvated by the muscles, and therefore are used in playing -musical instruments, whence they are named Musculi Fidicinales, or -fiddle-muscles.[3] - - -FOOTNOTES: - -[2] Luther Holden, Manual of Anatomy (London, 1861), Lecturer on -Anatomy in Bartholomew’s Hospital. Hermann Meyer: Lehrbuch der -Physiologischen Anatomie. Leipzig, 1856. - -[3] William Cowper, Myotomia reformata. London, 1724. Richard Quain, -Professor of Clinical Surgery, Surgeon Extraordinary to the Queen. - - - - - CHAPTER III. - - EFFECTS OF THIS GYMNASTIC TREATMENT ON THE MUSCLES, LIGAMENTS, AND - JOINTS OF THE FINGERS AND THE HAND.[4] - - -After the explanations just given, it may readily be conceived what -effects the cylinders placed between the fingers and the gymnastic -staff must produce on the joints and ligaments of the hand. - -1. The ligaments connecting the bones of the middle-hand amongst -themselves and with the fingers (Fig. 2 _aa_) are extended and -stretched (Fig. 3 _bb_), and thus those joints, so important in playing -on musical instruments, are rendered more moveable. - -2. The connecting links between the bones of the middle-hand and the -bones of the wrist are loosened (Fig. 2 _bb_). - -3. Almost all the ligaments of the cavity of the hand are made flexible. - -4. At the same time, all the muscles of the hand, and particularly the -muscles situated between the bones (Fig. 4 _b_), generally so little -practised, are stirred into activity by the cylinders, the stick, the -staff, and the free exercises. - -From the diagrams (Fig. 2 and 3) it may be plainly seen, what was -mentioned before, viz., that the movement of the middle-hand and of -the bones of the wrist in general, unless specially practised, is very -inconsiderable; while through the cylinder gymnastics prescribed in -this work, that limited movement of the bones is rendered more easy. -It may also be seen from the diagrams that, if both the great and the -small _tight transversal ligaments_ remain still and firm, they impede -and render more difficult the free movement of the fingers in every -direction; and these ligaments will always remain stiff and tight, -unless they be specially trained. - -[Illustration: Fig. 4.] - -For this reason the cylinder exercise, just mentioned, is particularly -intended to loosen the impeding _transversal ligaments_, as well as to -exercise and strengthen all the muscles of the hand and fingers. - -To convince yourself that this opinion is correct, extend your fingers -for two minutes only with the cylinders alluded to, and you will find -that the fingers instantaneously move much more easily, and that the -muscles, liberated from their tight, stiff neighbours, act with much -greater freedom. - -In the same manner as with the cylinders, the greatest advantage may be -experienced from the use of the gymnastic staff or stick. - -The principle on which these movements are founded is, that by them -almost all the muscles of the hand and the fingers, the smallest as -well as the largest, which in playing musical instruments and all the -other occupations of the fingers bear the chief part, are stirred -into action. At the same time, the extraordinary effect of the free -exercises on the large finger-joints and on the ligaments and tendons -is increased. And further—every portion of the hand and fingers, -ligaments, tendons, joints, and particularly the muscles, are well -practised, strengthened, and rendered flexible, by the fingers being -stretched and extended on, pressed and exercised against, a solid body. -Finally, while imparting to the muscles of the fingers and hand far -greater strength and ease than the continued quick movement on the -musical instrument is calculated to affect, all these exercises affect -the _nerves_ in a lesser degree, and prepare the fingers for all kinds -of work. - -These results, observed and tested by me countless times, are of the -greatest importance to all those who work with their fingers, but -more particularly to those engaged in musical pursuits, who, instead -of being overwhelmed with fatiguing work as before, will find that by -these exercises their studies are facilitated and divested of much of -their previous trouble and vexation. - - -THE WRIST. - -This joint, which for players on the piano and other instruments -is of such great importance (Fig. 2 _c_), should also be exercised -gymnastically; since, by means of the gymnastic exercises here -recommended, strength and flexibility will be gained in a very short -time, and a great deal of trouble saved. Nor ought it to be overlooked -that for all those who work with their fingers, a flexible, pliant -wrist is a great help, and that by it all the joints of the hand are -made to act harmoniously together. - - -FOOTNOTES: - -[4] Anatomists and physicians of great eminence have observed to me, -“Your anatomical researches have solved some important questions long -held in dispute by physiologists, and are of great practical value.” - - - - - CHAPTER IV. - - NEGLECT HITHERTO OF THE HAND AND FINGERS. - - -Many books have been written on gymnastics, but I am not acquainted -with one which treats of the gymnastical exercise of the _fingers_. -Why these important members of the human body should until now have -been so much overlooked and neglected, it is difficult to understand. -For, as Professor Richter in Dresden says, “Next to the more powerful -development of the brain, it is almost exclusively the structure and -skill of the fingers and hand which raises man above the brute, and has -made him ruler of the earth.” - -In order, therefore, to heighten the capacities of the human hand, the -joints of the hand and fingers should, from early youth, be exercised -gymnastically, as much and in as many various ways as possible, partly -by free exercises, partly by means of mechanical appliances. - -Gymnastics, according to anatomists and physicians, is the -_stretching_, _extending_, _pressing_, and _training_ of the muscles, -the ligaments, and the limbs of the body.[5] - -Flexibility, agility, and strength can be acquired only by means of a -regular exercise of the muscles of the body. - -Strength and power impart agility and quickness. This every physician -and every sensible man knows. - -A soldier only becomes fit for his work after the muscles of his body -have been gymnastically attended to and developed. Any man, having to -perform hard physical labour, must exercise his muscles gymnastically, -and every one ought to exercise those particular limbs the use of which -is most necessary for his profession. - -And more than any one else, the _teachers of music_ have to experience -the consequences of a want of skill and strength in the hands of many -learners, and they know how greatly a systematic educational training -of the fingers and hands for the execution of the more delicate -movements is needed at all times. - -Nevertheless, there are many arts besides music for which the hand -ought to be also trained from early youth, in order to be able -permanently to accomplish, in later years, what is excellent, _e. -g._, many kinds of handicraft, machine-work, needle-work, anatomy, and -surgery, writing and drawing, and all fine manipulations. - -An untrained hand will either remain clumsy in these branches of work, -or it will soon fail through over-exertion, which causes a peculiar -kind of paralysis, connected with cramp, and well known to writers -(the so-called writers’ cramp), but which also affects musicians, -artists, shoemakers, tailors, sempstresses, and other working people. -Certain it is, that if this matter had been inquired into before, and -public attention directed to it, a great deal of trouble and vexation -in learning music might have been saved; the labour of many working -people of all classes, who chiefly have to use their fingers, have been -greatly facilitated; and, moreover, many diseases of the joints of the -fingers and hand might have have been prevented. - - -FOOTNOTES: - -[5] The following quotations from the works of some of the leading -authorities may be of interest to the reader:— - -“Methodical gymnastic exercises of the hands and fingers afford the -very best means of overcoming the technical difficulties.”—Schmidt’s -“Annals of Medicine.” - -“Technical difficulties will most safely and quickly be conquered by -proper gymnastic exercises of the hand and fingers.”—Dr Dietz, Member -of the Royal Council of Medicine. - -“To obtain technical skill and muscular steadiness, a gymnastic -education is the best means.”—P. M. Link. The gymnast exercises -his limbs through preparatory exercises; how, therefore, is it -possible for the player of the piano and violin to dispense with this -gymnastic preparation of the joints of the hand and fingers?”—Prof. -Rector v. Schmidt, President of the Royal Gymnasium. “La souplesse -et l’étendue des poignets dépendent du développement gymnastique -des forces. La gymnastique développe l’aisance et la grâce.”—Dr M. -Bally. “For so great an art as piano or violin playing, the muscles of -the fingers are weak; they ought to be prepared by proper gymnastic -exercises.”—Ferguson. - - - - - CHAPTER V. - - THE FINGER-JOINTS ARE THE LEAST EXERCISED, AND THE WEAKEST. - - -To become a skilful musician is no small matter. There is no art which -demands more labour, patience, and especially more _time_, than, for -instance, piano or violin playing; and at least half of that time -is for years required for the particular purpose of strengthening -the muscles of the fingers, and rendering them flexible. And why so -many years? Because the muscles, the ligaments, and the tendons of -the finger-joints and wrists have not previously been gymnastically -exercised and trained. - -To prove in a practical manner that it is particularly important to -prepare the muscles and ligaments of the fingers and hand, I will cite -a fact which may appear startling, but which, nevertheless, is true, -viz., that the muscles and tendons of the fingers, in spite of their -great importance, are, proportionately speaking, the least of all -practised in daily life. - -Take all sorts of people from amongst the labouring classes, such as -the smith, the joiner, the gardener, the bricklayer, the stone-mason, -the husbandman, the day-labourer, &c., &c. They are at work the whole -day, and acquire arms like steel and muscle like giants; but they very -_rarely_ use the _fingers_, which, therefore, remain unexercised. And -it is the same with the educated classes, without difference of age or -sex. - -This is the reason why the learning of piano and violin playing -is attended with such great difficulties, and why the muscles and -ligaments of the hand ought to be trained by proper gymnastic -exercises. For their weakness arises, for physiological reasons, from -the very fact of their inactivity. - -This fact I will satisfactorily prove in the sequel, for it forms the -basis and key of my discoveries. - - - - - CHAPTER VI. - -THE PRINCIPAL DIFFICULTY DOES NOT CONSIST IN THE READING OF MUSIC, BUT - IN THE WEAKNESS OF THE FINGERS. - - -In the opinion of many, the chief difficulty to be overcome in studying -music consists in learning to _read it_. But this is by no means the -case. The reading of music is learned in the same manner as a child -learns to read letters. The first difficulties having been mastered, -the task is easy; as with a printed book, so with music. - -Consequently the paramount difficulty is not in the _notes_, but -in the weakness and _awkwardness of the fingers_ and wrists. From -this, again, it may be plainly seen how necessary it is to train the -_fingers_ before commencing the work of the _head_. In short, what is -wanted is a regular gymnastic training for the muscles of the fingers, -the joints, and the wrists; and it will be found that the following -exercises, being as desirable as they are applicable for every age, -will strengthen and render them flexible in a most surprising manner, -will materially shorten the time of study, and save much labour; -nevertheless, on that account _the ordinary finger-practice, scales, -and studies should of course_ NOT _be omitted_. - -Suppose a boy from 10 to 14 years old, who is strong and healthy by -means of gymnastics and other exercises, set to learn the piano or -violin. His body is strong with gymnastic exercises, but his wrists and -fingers are weak and awkward. How is he, with the method now in use, to -succeed in playing an instrument well, without very long and wearying -work? No wonder that the painful exertion almost makes him despair, and -that finally he gives up the thing altogether. But if, on the contrary, -his fingers and joints have been gymnastically trained and exercised -beforehand, he will get on easily and quickly, and continue his -studies with pleasure. - -Many presidents and teachers of the most celebrated gymnastic -institutions have, therefore, come to the determination to introduce -into their establishments these exercises in addition to the other -branches of gymnastic training. Their practical utility for all those -who work with their fingers, for anatomists, surgeons, sculptors, -watchmakers, and many others, is as evident as their salutary -effect;—from a medical point of view, in curvature and paralysis of -the hand and forearm, in weakness of the muscles and nerves, writers’ -cramp, and similar complaints,—is undeniable. - - - - - CHAPTER VII. - -MUSIC IS THE ART WHICH MAKES THE HIGHEST DEMANDS ON THE MUSCLES OF THE - FINGERS. MOVING THE FINGERS UP AND DOWN INSUFFICIENT. - - -These exercises for persons engaged in musical pursuits can, least -of all, be dispensed with, because music is the art which makes the -highest demands on the muscles of the fingers and wrists. - -Eminent physiologists say, “Gymnastic exercises for the fingers and -joints ought to have been commenced 150 years ago; they form the real -foundation of practical art.” - -It is, indeed, incredible that so great an art as piano and violin -playing should have arrived at so high a stage of perfection without a -previous training of the muscles. As a matter of course, this is only -to be ascribed to the unremitting exertions and the indefatigable zeal -of the teachers, and to the unwearying industry of the pupils. And how -much easier might this have been attained! - -The muscles, ligaments, and tendons consist of soft elastic matter, -and, as has been stated, run partly _longitudinally_, partly -_transversely_. This is a point to be borne in mind. It is, therefore, -one-sided and erroneous to believe that the best means of strengthening -the muscles consists in simply raising and dropping the fingers. All -one-sided practice is hurtful; and an exercise of the fingers limited -to an upward and downward movement, occasions much severe work. If, -on the other hand, the muscles be moved according to physiological -principles, in all directions, both laterally and up and down, and -trained gymnastically, they will become within a very short time strong -and flexible. - - - - - CHAPTER VIII. - - ARTISTS AND TEACHERS OF MUSIC. - - -If any one should say that he has diligently studied the piano and -violin after the method used at present, and in course of time has -learned and taught it with the greatest success, without having found -it necessary to trouble himself about any other system, my reply is, -that music is one of the most beautiful, and with respect to muscular -work, the most difficult of arts, and that all the arts and sciences, -music not excepted, have made enormous strides in advance during the -present century. But exactly because music has become a universal boon -for all classes of the civilized world, one ought to be so much the -less disposed to shut out new ideas respecting it, from whatever side -they may come. The representatives of this art, professional musicians -and teachers of music, are generally the most active and often the most -educated men, who devote their lives to the art, and promote it in a -way which is hardly acknowledged sufficiently by the musical world. The -most highly honoured, however, are those who have made the greatest -progress in theory and in practice, or who have readily and generously -acknowledged such progress, from whatever direction it might come. - -It is, therefore, the duty of all to assist teachers of music and -proficients, as much as possible, in promoting this beautiful -accomplishment; for this reason, encouraged by persons of the highest -distinction, and moved by the love of the art and of mankind, I venture -to make known my “_Gymnastics of the Fingers and Wrist_,” and to offer -to all who work with their fingers in general, and to musicians in -particular, a means which, based on physiological principles, leads -most surely to the attainment of artistic execution, and which is in -itself so simple, that any child may use it; a means, too, which will -effect a great saving of time and facilitate the work of both teachers -and students. - -I have only to add that, as a matter of course, these exercises, in -order to have the desired effect, should be performed _gymnastically -and regularly_, according to _the directions_ given, and not otherwise; -whilst, on the other hand, they ought _not to be carried to excess, nor -are they intended to supersede the usual finger-exercises, scales, and -studies_. - - - - - CHAPTER IX. - - FREE GYMNASTIC EXERCISES FOR THE FINGERS AND THUMB. - - - _First movement._ - -[Illustration: Fig. 5.] - -[Illustration: Fig. 6.] - -Stretch the fingers as much as possible one from the other, let them -fall on the large muscle of the thumb (thumb-ball), and press them -firmly on it; _remain for a moment in this position_, and bring the -thumb against the forefinger, 40 times up and down. - -You will find that this exercise, as well as several others, if -vigorously continued for three minutes only, is very fatiguing; a clear -proof that the muscles of the fingers, although they may be quite fit -for ordinary daily occupations, are, nevertheless, _very weak and -incapable_ when anything more is demanded from them, and without proper -gymnastical training, they must remain so. - - - _Second movement._ - -[Illustration: Fig. 7.] - -[Illustration: Fig. 8.] - -Stretch the fingers as before, but let the finger-ends fall against -the middle of the cavity of the hand, instead of against the great -muscle of the thumb, and press them firmly. To be repeated 40 times. - - - _Third movement._ - -The following exercise (9 and 10) is intended particularly for the -small joints of the fingers. It is effective, but difficult. - -[Illustration: Fig. 9.] - -[Illustration: Fig. 10.] - -Do not stretch the fingers away from one another, but hold them firmly -and close together, as this produces the effect particularly desired. -Bend the two first finger-joints of the four fingers closely together; -move them vigorously up and down, and press them on _firmly_, without, -however, moving the large joints. Repeat this movement until you are -tired, which will not be long, thus affording another practical proof -how weak the untrained finger-joints are. This is also an excellent -exercise for the thumb, provided it is made slowly and vigorously. It -may also be made with outstretched fingers. - -I again repeat that no one who has not already tried the above or -similar exercises of the fingers, will be able vigorously to continue -them for even so short a time as three minutes without experiencing -painful fatigue. And why? Because, as I have demonstrated before, the -joints of the fingers and wrists are, in the ordinary occupations of -life, the least of all exercised, and consequently the weakest, in -comparison with what they have afterwards to perform. - -After this experience people will, in future, hardly venture to teach -and to continue the exercise of an art like music (which, from a -muscular point of view, is the most difficult of all), with muscles -the weakest and least trained, without having previously prepared them -by proper gymnastic exercises. - - - _Fourth movement._ - -[Illustration: Fig. 11.] - -[Illustration: Fig. 12.] - -The last free exercise for the finger-joints, which I will recommend -here (11 and 12), consists in moving all the fingers and the thumb -simultaneously together, that is to say, in stretching them far away -from one another, like claws, and making all sorts of eccentric -movements in whatever direction you please, and as long as you like or -are able, but always vigorously. - - - - - CHAPTER X. - - FREE GYMNASTIC EXERCISES FOR THE THUMB. - - -Although it is not easy to prescribe complete gymnastic exercises for -the thumb, the following, if made vigorously, will, nevertheless, be -found very effective. - - - _First movement._ - -[Illustration: Fig. 13.] - -[Illustration: Fig. 14.] - -Stretch the fingers as far as possible away from one another, then -press the hand firmly together, the thumb being held fast in the cavity -of the hand; continue for a moment in this position, and then repeat -the same movement, alternately opening and closing the hand. - - - _Second movement._ - -[Illustration: Fig. 15.] - -Hold the fingers close together, stretch out the thumb, and then -perform with the latter a circular movement inside the hand, first 20 -times to the right, then 20 times to the left: to be repeated again and -again. - - - _Third movement._ - -[Illustration: Fig. 16.] - -Take hold of the thumb of the one hand with the fingers of the other, -or with the whole hand, and shake it or bend it to its root, without, -however, overdoing either. - -In short, perform every day some exercise with the thumb, whereby it -will be sufficiently brought into exercise. - - - - - CHAPTER XI. - - FREE GYMNASTIC EXERCISES FOR THE WRIST.[6] - - - _First movement._ - -[Illustration: Fig. 17.] - -[Illustration: Fig. 18.] - -Move the wrist, _without moving the arm or elbow_, vigorously up and -down in a perpendicular direction, from 20 to 40 times, first slowly, -then more quickly; finally, as quick as possible. In doing so, let the -elbows rest close to the body, so as to bring both hands and wrists -into the proper position. As soon as you are tired, leave off. - - - _Second movement._ - -[Illustration: Fig. 19.] - -[Illustration: Fig. 20.] - -Move the hand horizontally or vertically without moving the arm. - -To understand the practical utility of this exercise (19, 20), it ought -to be borne in mind that the entire action of the wrist is effected by -two principal joints, one of which, the smaller of the two, lies at -the root of the hand, and is called the “joint of the hand,” by means -of which it becomes possible to move the hand, independently of the -arm, at its root. The other joint, the larger of the two, rises from -the elbow, and is called the rotatory joint of the forearm. Holding, -then, all the five fingers close together, move the smaller joint -perpendicularly or horizontally, as you please, without in any way -moving the arm, and at the same time holding the elbow close to the -body. - - - _Third movement._ - -[Illustration: Fig. 21.] - -[Illustration: Fig. 22.] - -Move the wrist in a slanting direction right and left, as above, first -slowly, then quicker and quicker. Hold the elbows as before. By this -movement, both the joints mentioned above will be put into action, 21, -22. - -[Illustration: _Fourth movement._ -Fig 23.] - -The young violinist, who generally finds the sideways movement of the -wrist of the right hand so difficult, will derive great advantage from -all these wrist exercises. - -Holding your arm quite still, move the free hand or fist vigorously -round in a circle, 20 times to the right, and 20 times to the left, -first slowly, then more quickly. By this exercise all the muscles of -the hand and the arm will be put into motion, and though the most -difficult of all, this is at the same time one of the most important -exercises. - -All these several free movements of the hand and fingers may be -repeated _many times_, with advantage; still by simply performing them, -short though they be, daily and regularly, the prescribed time only, -the desired end of strengthening the muscles of the fingers and wrists, -and rendering them vigorous and flexible, will be surely attained. - -I could mention some other free exercises of the fingers; but since -they are neither so practical nor so effective as those I have already -described, I prefer to omit them. - - -FOOTNOTES: - -[6] One or two of these exercises may possibly have been mentioned in -some former work. - - - - - CHAPTER XII. - - MECHANICAL FINGER-EXERCISES. - - - _First movement._ - -[Illustration: Fig. 24.] - -[Illustration: Fig. 25.] - -Take for each hand three cylinders, three quarters of an inch long, -and from half to one inch in diameter, according to the size of the -fingers; place them between the upper ends of the fingers, and while -gradually and conveniently extending the muscles, by bending the -fingers, move the latter as shown by the above figures, 24 and 25. - - - _Second movement._ - -[Illustration: Fig. 26.] - -[Illustration: Fig. 27.] - -Move the cylinders further down, to the roots of the fingers, and -perform the exercises according to Figs. 26 and 27. In doing this, put -a small round piece of wood between the thumb and the forefinger, at a -distance sufficient to extend the former as much as possible. - -Leaving the other fingers as before, put a large cylinder between -the thumb and forefinger (28 and 29), so as to entirely fill up the -intervening space. In doing this, be careful to extend the thumb as -much as possible. In case the tension of the fingers is small, take -smaller cylinders: or if the latter should be too hard for tender -hands, cover them with some soft substance, such as velvet, or the like. - -[Illustration: _Third movement._ -Fig. 28. -Fig. 29.] - - * * * * * - -Perform all these exercises vigorously, and, if possible, just before -practising the musical instrument, twice or three times daily, each -time for a few minutes, especially in the morning, on getting up. As -a matter of course, after eight or 10 hours rest, the muscles of the -fingers and wrist, like those of the rest of the body, are somewhat -stiff, and ought to be prepared by proper gymnastic exercises, before -beginning to play. Besides, _provided over-exertion be avoided_, there -is not, according to the best medical authorities, the least danger to -be apprehended, from these exercises, for the joints and muscles of -even the very smallest hands. - -If players of the piano and the violin should object that, in the act -of _playing_, the fingers need not be as much extended as prescribed -here, or assert that the finger-exercises, scales, and _études_ as -at present used are perfectly sufficient, and that nothing more is -wanted, I can only repeat, that the fingers must be _prepared_ in -order to render them strong and flexible; that, for this purpose, it -is necessary to exercise them _gymnastically_, and that, as I have -explained before, these preparatory exercises will save much time -and trouble, and facilitate the work of both teachers and pupils; -_further_—that, by the diligent practice of these gymnastics, the -fingers become elastic and independent of each other; you acquire -thereby complete control over them, and _when you have done this_, you -can move them and do with them as _you will_. - -ANOTHER MOST EFFECTIVE mode of stretching and loosening the tendons and -ligaments which encompass the large middle-hand bones, or “knuckles,” -may be performed as follows: - -Place the forefinger of each hand, up to the middle joint, firmly on -the table, and in that position press it up and down with a certain -degree of force, for a few seconds; then withdraw it, and apply the -next finger in a precisely similar manner; then the two other fingers -in succession, each finger remaining on the table alone, unaccompanied -by any other. - -Afterwards apply the 2nd and 4th _together_, exactly in the same way, -for a few seconds; then the 3rd and 5th; lastly the thumb. - -The pupil may do this many times a day with great advantage; for by -this process the ligaments and tendons of the knuckles are stretched -and loosened, and the muscles are set free. - -Of course always with due moderation. - - -ANOTHER VERY IMPORTANT exercise, bearing chiefly on the tendons and -ligaments of the large metacarpal joints or knuckles, is the following: - -With the thumb and forefinger of the one hand take hold of one finger -of the other hand, and shake it up and down, for one minute, to its -root. Then take the other fingers in succession in like manner. To be -applied equally to both hands, and to be done, especially with the 4th -and 5th fingers separately, as often as leisure permits. - - * * * * * - -To this category belongs also ANOTHER EXERCISE of the metacarpal joints -or knuckles. Into the palm of one outstretched hand place the closed -fingers or fist of the other: then open and close the _latter_ as fast -and as long a time as is agreeable, always continuing to press upon -the palm. Change hands and repeat. Ever remember that the difficulties -of bringing the fingers into order lie, physiologically, almost all -in the middle-hand bones or knuckles; and as the five preceding -exercises,—and especially the three last,—act in a very efficient and -special manner upon the ligaments, tendons, and muscles of these and -the other joints of the fingers, they _cannot be made too often_. - - - - - CHAPTER XIII. - - MECHANICAL FINGER-EXERCISES (CONTINUED). - - -It is not sufficient to play the ordinary finger-exercises and scales. -As has been shown in the opening chapters, and in the anatomical -representations of the hand, all the fingers are not equally strong; -for instance, the 4th and 5th fingers are, by nature, much weaker than -the others, and it is necessary to remedy this inequality. - -Each finger ought, therefore, to have gymnastic exercises _for itself_, -and they ought to be performed on some solid body, which can be firmly -grasped. For this purpose take a round staff, from 12 to 18 inches -long, and half to three quarters of an inch thick, on which, at a -proper distance from one another, round indentations are made, and -into which the fingers are to be placed after the manner illustrated in -the adjoining and following figures. - -[Illustration: The staff] - - - _Directions._ - -Place the thumb of each hand on one side, and the four fingers _very -firmly_ fixed on the other side of the staff; _raise one finger as high -as possible_, and let it fall down vigorously, like a hammer, 20 times -in succession, while the three remaining fingers, _stretched out from -one another_, like claws, remain immoveable. In the same way exercise -the other fingers; firmly, _slowly_, vigorously, and immediately after -the cylinder exercises just described. Repeat this three times daily, -each time for five minutes, altogether for 15 minutes a day, _but the -oftener it be done the better_. - -Those playing the piano need not confine themselves to one particular -exercise, but may make use of all the figures at pleasure. - -[Illustration: Fig. 32. -Fig. 31.] - -[Illustration: Fig. 33.] - -The fingers of the left hand may also be trained for violin playing, as -seen in Fig. 35. - -[Illustration: Fig. 35.] - -_Further upon the same._ After the cylinders, by far the most effective -of all means for imparting, gymnastically, strength and flexibility -to the fingers, together with evenness of vigour, individuality, and -independence, is, daily, in the room, or while walking, to take the -above-named staff, or, indeed, a smooth round stick of 18 inches -long, and half to three quarters of an inch thick, or an ordinary -walking-stick, and to perform on it as follows—With the four fingers -of one or both hands firmly pressed and stretched upon it, raise one -finger as high as possible, and, as above stated, let it fall down upon -it vigorously, like a hammer, while the other fingers remain firmly -pressed on the stick, 20 to 30 times in succession, then in couplets -with the 5th and 4th fingers, then with the 4th and 3rd, then with the -3rd and 2nd, 20 times each, the two fingers, in all cases, as stated, -lifted as high as possible, and the others remaining, _stretched at -even distances_, firm upon the staff; finally, with the four fingers -of each hand, 12 times ascending, and 12 times descending, but always -SLOWLY, energetically, with firm pressure, “and in time.” You may -_occasionally_ practise a little faster, but it must be the exception. -Slow moving, pressing, and stretching should from the chief gymnastic -rule.[7] - -In a similar manner you may practise, _slowly and with energy_, with -one or with both hands, all sorts of difficult, muscular movements and -passages upon the staff, for example:— - -_First series._ In couplets 20 to 30 _times each in succession_, with -the 2nd and 4th fingers, alternating, afterwards, with the 4th and 2nd; -then with the 3rd and 5th fingers, alternating with the 5th and 3rd; in -each case the two fingers stretched wide apart, and the other fingers -pressed upon the staff. - -_Second series._ In couplets 20 to 30 _times each in succession_, -with the 2nd and 3rd fingers, first close together, then wide apart, -afterwards alternating in the same way, with the 3rd and 2nd. With the -3rd and 4th fingers first close together, then wide apart, afterwards -alternating, in the same way, with the 4th and 3rd. With the 4th -and 5th fingers, first close together, then wide apart, afterwards -alternating in the same way, with the 5th and 4th. In each case slowly, -the two fingers lifted as high as is convenient, 20 to 30 times in -succession, and the other fingers remaining firmly fixed upon the -staff. Lastly, all the four fingers together, in each of these varied -and different directions. - -The number of times of each movement, and the duration of time, also -whether all should be made at the same hour, or otherwise, is left to -the discretion of the teacher and pupil. I would recommend, at first, -the selection of three or four modes or exercises for persistent -practice, to last over a given period of time, then to change to others. - -But the regular exercise of the whole or part of them, _daily_, will, -in a comparatively short time, most surely impart immense strength -to, and render flexible, the muscles and joints of the fingers; will -enable you, if the directions be duly followed, to effect for yourself -perfectly equal and even fingering, and render the fingers entirely -_independent one of another_. - -But let all be done with due moderation, and not driven to excess. - -This gymnastic staff, or walking-stick exercise, however simple it may -appear, should, on no account, any single day be omitted. It produces -a most surprising effect if carefully and vigorously made; an effect -which will be the more remarkable in proportion as the fingers are -pressed and stretched far away from one another. By this means all the -various muscles, and even the tendons, joints, and ligaments are put -into motion, and both fingers and nerves are rendered strong and firm. -Besides, no time need be lost; as in performing these exercises you may -converse or engage in other occupations.[8] - -In this manner, also, _the 4th finger may_ have a special training, and -become equally strong with the others. This finger is, on physiological -grounds, the weakest of all, and after a number of vain attempts at -remedying its well-known weakness, some physiologists of note in -Germany, have gone so far as to suggest the idea whether it would not -be well to cut the ligament joining the two fingers, in order to set -the 4th finger free. - -But it is unnecessary to have recourse to such rude and unnatural -measures; the natural weakness of the 4th finger may be effectually -remedied, and may be entirely overcome, by the above exercises. The -same exercises, if _performed strictly according to the directions_ -given above, are extremely useful for _all_ the fingers, which they -will render both strong and flexible. - -These exercises may be _partially_ performed on musical instruments; -but they are _far more_ effective if made gymnastically, as directed, -because the fingers, in having a resting point, or lever, and having -something firm to grasp, are enabled to perform them _gymnastically_. - - -FOOTNOTES: - -[7] The late Mr Clementi was celebrated for the perfect evenness and -beauty of his touch in playing rapid passages on the piano. The means -by which he attained this execution he was unwilling to disclose. It is -now known that he effected it by playing his scales VERY SLOWLY, and -with _great pressure_ of each individual finger (see page 96). - -[8] The celebrated violinist, Bernard Molique, told me lately, in -London, that when he was called on to play difficult solo pieces in -public, he very often played them previously over _upon a stick_. - - - - - CHAPTER XIV. - - MECHANICAL FINGER-EXERCISES (CONTINUED). - - -Moreover, beautiful works of art, like pianofortes, violins, and other -musical instruments, ought not to be used as gymnastic implements. They -are destined for _play_, not for _gymnastic_ appliances. The fingers -and joints ought, therefore, first to be gymnastically exercised; -_then_ play upon the instrument. - -The head and the fingers ought to go together; but how is this possible -if the latter remain behind? The mind strives forward, the fingers keep -it back. Why should this torture be inflicted? No; let the fingers -first be properly trained; then head and fingers will go harmoniously -together. - -Another great advantage attending the above exercises is, that so -long as they last, the organs of hearing are spared. Many persons, -who zealously and with endurance perform finger-exercises on musical -instruments, injure their health, through the irritation of the -auditory nerves, to such a degree, as either to be prevented, on -medical authority, from continuing to practise, or otherwise to be -subjected to serious consequences; whereas, if the exercises are -preceded by the gymnastic movements given above, the hearing organs of -the pupil will be greatly spared, and not injured in any way. - -The greatest technical art consists in controlling alike the fingers, -the joints, and the nerves. Now, if the muscles and tendons are -exercised and strengthened by proper physical work, the _nerves_ will -be invigorated at the same time. This is a well-known fact, and for -those engaged in musical pursuits, an advantage which it is impossible -to overrate. The fingers then will not be fatigued as easily as -before, and you learn at the same time by habit, to acquire complete -control over the joints, the muscles, and nerves. - -Nor ought another advantage to be overlooked; viz., that in regard to -artists and persons who play well, when these travel, or from any other -cause are prevented from playing for some time on a musical instrument, -they will be enabled, in the manner described above, to exercise -efficiently for a short time daily their fingers and joints. Thus the -fingers and joints will not get stiff, and you will always remain their -master. - -However, to attain this end, the exercises on the stick ought not be -performed carelessly, but _gymnastically_, and STRICTLY _according to -the directions given above_. - -The same exercises are very useful for persons playing the violin, by -promoting the proper bending of the _forefinger_ of the left hand. - -Generally speaking, the whole of the above exercises are equally -fit for all persons playing the piano, the organ, the violin, the -violoncello, and other instruments; and they will find, after having -accustomed themselves to perform them vigorously and gymnastically -for a short time daily, that they then come to the instrument with a -strength and individuality of finger which will exceed their utmost -expectations. - - - - - CHAPTER XV. - -BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY THOSE OF THE THUMB AND THE - LITTLE FINGER. - - -Take a board, about 22 inches long, four to five inches wide, and three -quarters of an inch thick, and mark out on it four or five grooves, -about half an inch deep. To fix this board on the table, have a little -ledge glued on to one of its sides, as in Fig. 36 and 37. - -Place the outstretched hand on the board; stretch the thumb and the -little finger as far as possible away from one another, into one of the -grooves, place the other fingers into one of the other grooves, and set -them in motion, while holding the thumb and little finger firmly in -their places. - -[Illustration: Fig. 36. -Fig. 37.] - - - - - CHAPTER XVI. - - ON STRINGED INSTRUMENTS IN PARTICULAR. THE WRIST OF THE RIGHT HAND. - - -The following mechanical gymnastic exercises refer to the _wrist of -the right hand_, and are intended for players on stringed instruments. -Their chief purpose is to render the wrist of the right hand and the -forearm strong and flexible. This all students find very difficult; it -will soon be evident for what reason. - -It is a fact acknowledged by the most celebrated musicians, that the -principal bowing difficulties in playing the violin arise from the -wrist. This is chiefly owing to the circumstance that, in playing the -violin, the movement _sideways_ of the wrist is a peculiar one, being, -in fact, totally different from any other movements taking place in -the ordinary occupations of life. If, therefore, it be desired to -diminish the painful work, as customary at present, it is indispensable -to _prepare_ the wrist and arm by exercises like those we are about to -describe. - -Take three times daily, and particularly early in the morning, a -stick or cane exceeding the length of a violin bow by 8-10 inches, -holding it in your right hand the same as a bow; lay it on the left -hand,—which is to be raised to the same height as if playing the violin -or violoncello,—and move it _vigorously_ up and down as follows: - -1. The entire length, 30 times; - -2. The middle length; with the forearm and wrist only, without moving -the upper arm, 30-40 times; - -3. At the _nutt_; with the wrist alone,—and especially up-stroke,—with -energy; without in the least moving the arm, 30-40 times; - -4. At the extreme _head_-end; with the wrist alone, and with pressure; -without in the least moving the arm, 30-40 times. - -Move the cane alternately up and down, pressing it with the thumb -and forefinger, and look at the direction of the wrist and the stick -or cane. With this gymnastic cane you may exercise gymnastically, -at pleasure, up and down strokes, triplets, and all sorts of -bow-movements. The effect you will find surprising. - -These exercises are particularly useful for the student. As a matter of -course, they can also be _partially_ made with the bow, but _not with -the same effect_. - - - - - CHAPTER XVII. (CONTINUED). - - -There is another very effective gymnastic exercise for strengthening -and rendering flexible the wrist of the right hand. A movement -resembling it has already been described above, but to prevent any -misconception, I think it well to give explicit directions respecting -it here. - -Take hold with your right hand of the extreme end of a long and rather -heavy _Alpenstock_, and while continually keeping the hand in the same -place, move it upon the upheld left hand vigorously up and down: - -1. With the whole arm, 30 times; - -2. The middle length, 25 times; - -3. As near as possible to the lower end, with the wrist alone, without -in any way moving the arm, 30 times; - -4. As near as possible to the upper end, with the wrist alone, and -especially up-stroke, without in any way moving the arm, 30 times. - -This exercise, on anatomical grounds, produces a considerable effect on -the muscles and sinews of the wrist and the forearm, in imparting to -them the wished-for strength and flexibility. - -Besides, it is a well-known fact that, having handled a heavy object, -it is more easy skilfully to handle a lighter one. - -If it should be objected that the last-mentioned gymnastic exercises, -being of rather a rough kind, might spoil the elegant stroke, my answer -is, that those so-called rough exercises only last a very short time -daily, and are undertaken for the special purpose of rendering the arm -and wrist strong, easy, even, and flexible. Indeed, if these right-hand -exercises are made _carefully_ and _according to the directions given_, -a short time every day, they will strengthen the wrist of the right -hand and render it pliant and flexible to such a degree, as to enable -persons, in a comparatively short time, to play with the wrist almost -as vigorously as with the arm. - -There is, moreover, another advantage attending these exercises, viz., -that, if continued for some weeks only, and for a few minutes daily, -they will soon give the proper position to the student’s arm, which, -consequently, will not be required to be tied to the body, as was often -done in former times. - - - - - CHAPTER XVIII. - - CONTINUATION. STACCATO. - - -A famous German chamber violinist once remarked to me, “I find that -staccato playing is the best exercise for bowing, but I can’t say why.” -The reason, however, lies in the fact that, by frequently playing with -the end of the bow, or with the staccato-stroke, the muscles of the -wrist are put in motion, thus undergoing a _gymnastic_ training by -which strength and flexibility are acquired. - -It is impossible to perform the staccato-stroke well, unless the -muscles of the wrist have become strong and agile; and the reason why -the student finds this stroke in most cases so difficult is, that the -wrist has not been specially trained and prepared, in consequence of -which it remains weak and stiff. - -It ought to be remembered that in almost all kinds of handiwork in -daily life, the _whole_ arm is active and in motion, and _very rarely_ -the _wrist alone_. With musical instruments, on the contrary, and -particularly in playing the violin, it is necessary _always_ to use -the wrist, and it is impossible to play well unless the wrist has been -rendered strong and elastic. It is, therefore, absolutely indispensable -that proper gymnastic exercises should be made with the wrist, in -order to _prepare it_. The wrist, indeed, ought to be _accustomed_, in -other words, _to move of itself_, and the student ought, as often as -possible, to perform all kinds of movements calculated to impart to it -pliancy and strength. It will then soon become free and easy, and the -student will, in course of time, acquire the strongest, most elegant, -and artistic stroke. - -No single one of these practical gymnastic exercises ought to be -despised on account of its simplicity. Only try them, and they will -be found very effective. All sensible artists and teachers will do -homage to every improvement, and consider it their duty to welcome any -assistance calculated to diminish and render lighter the arduous toil, -and shorten the valuable time required for becoming a proficient in -music. - - - - - CHAPTER XIX. - - CONCLUDING REMARKS. - - -I will only add in conclusion, that it would be well not to continue -too long with the same gymnastic exercise, but to allow the muscles -and joints some change, which will be found both agreeable and -advantageous. If, therefore, the student be tired of one exercise, he -should begin another. Besides, if the fingers are fatigued and hot by -playing, and the nerves irritated, an exercise of some of the different -free or mechanical gymnastic appliances will refresh the muscles, by -imparting to them a new and an easier movement. And be it remembered, -“these exercises are not irksome, but recreative.” - -It may also be recommended in such cases, to dip the points of the -fingers for half a minute into half a glassful of cold water, and let -them get dry of themselves, thus cooling by evaporation; or still -better, wash the hands with soap and water. - -To sum up: No student ought to begin to learn or to play the piano, -violin, or other musical instrument, or even to engage in any work or -occupation requiring a strong and flexible hand, before having set -the joints of his fingers and hands in order, by means of preparatory -gymnastic exercises; and he ought to continue the same from day to day. - -Let it ever be borne in mind that much rapid playing affects -injuriously the muscles and nerves; while, on the other hand, _slow -exercises and studies_ invigorate them. - -To borrow an illustration from the animal world; take the race-horse, -the fleetest animal which we use in this country, whose great task -requires that his muscle should be brought into the highest condition -of strength and flexibility. Do you suppose that, in training and -preparing him for the race,—a process often extending over a -considerable period,—that he is, in the course of it, much galloped? -By no means! Galloping forms the exception, and, during this long -interval, walking, trotting, and cantering form his chief training -paces; namely, four-fifths or seven-eighths of the time; galloping only -one-fifth or one-eighth part! His skilful trainer knows that much rapid -exertion, such as galloping long continued, weakens and wears out his -muscle. So, also, in the hunting-field and on the road, it is “the pace -that kills.” Even so with the player upon a musical instrument; _long -continued_, rapid movements wear out the muscle and shake the nerves, -while slow exercises, however vigorously executed, invigorate and -strengthen both (see p. 75, note). - -The exercises for stringed instruments will be most satisfactorily -performed before a looking-glass, and I may here add that a little -work by the author, entitled “Gymnastic Exercises for the Violin and -Violoncello,” having for its special object the exercise of the wrist -of the right hand on the instrument, will be published in a short time. - - * * * * * - -And here I avail myself of this opportunity to raise a question for -consideration regarding that part of the violin-bow which the right -thumb presses. Let me ask, _first_, why should this little sharp -projection be permitted to appear on every bow, to the prejudice of -the placing firmly the thumb there, instead of being _rounded off_? -and _secondly_, why should there not be placed, close to this point, -especially for students, a small piece of round gutta percha—a gutta -percha button—as a _stay_ to the thumb? Great facility would thus be -afforded for holding firmly the bow. Any one may put a piece of gutta -percha in the candle, and, when softened, stick it fast on the place -indicated. - -Finally, I repeat that, in performing any of these gymnastic exercises, -the principal condition to be adhered to is, that they should always -be made in the morning, also immediately before playing; and that -while great vigour is imparted to them by following out strictly -the directions given, any over-exertion should be avoided. As to the -claims of the author himself, they are limited to an earnest desire, -that his “Gymnastics of the Fingers and Wrist,” founded as they are -on anatomical and physiological principles, may find favour with the -Public, and be instrumental in promoting the best interests of Art. - - - THE END. - - - JOHN CHILDS AND SON, PRINTERS. - - - - - TESTIMONIALS. - - -_From_ PRESCOTT HEWETT, F.R.C.S., _Surgeon to St George’s Hospital, -late Professor of Anatomy to R.C.S._ - - _Aug. 28th, 1865._ - -“Having carefully examined the gymnastic exercises invented by Mr Edwin -Ward Jackson for the due working of the fingers and hand, I have great -pleasure in stating that I believe that such exercises will be of the -greatest use, not only to musicians, but to every one who wishes to -possess a perfectly free use of his hands. The power and the freedom -obtainable by exercises such as these have been little thought of; but -from what I have seen, I feel confident that Mr Jackson’s exercises, if -rightly used, are destined to make the hand much more perfect for all -its purposes than it really is.” - - * * * * * - -_From_ LUTHER HOLDEN, F.R.C.S., _Senior Lecturer on Anatomy at -Bartholomew’s Hospital_. - - _Aug. 28th, 1865._ -Since our last interview I have often thought and talked about the -practical effect of your ‘Gymnastic exercises for the Fingers.’ On -anatomical and physiological grounds, it is quite certain that these -exercises are admirably calculated to liberate the ligaments of the -fingers, and to give a freer play and increased vigour to those muscles -upon which many of the varied and more independent movements of the -fingers depend. - -“I have no doubt whatever that such exercises will be of the greatest -service in educating the fingers of musicians, and thereby save them a -great deal of time and trouble.” - - * * * * * - - _From_ RICHARD QUAIN, F.R.S., _Professor of Chemical Surgery in - University College; Surgeon Extraordinary to the Queen_. - - _August 2nd, 1865._ -I write to you upon the important facts you were good enough to -communicate to me to-day, and to explain how they may be accounted -for scientifically. Your proposal to exercise the hand and fingers, -and your plan of systematically carrying out the proposal so as to be -beneficial to musicians, are _both new_ to me. Judging on principle, -and from a knowledge of what occurs in other parts of the body, I have -no doubt that the system must be useful, for it will give increased -mobility to the fingers and increased development and power to the -small muscles—Lumbricales (the _musculi fidicinales_ of Cowper), and -metacarpal interosseous, as well as indeed to the general flexors and -extensors of the hand. In short, the exercises you propose will be to -the hand and fingers what the ordinary gymnastic exercises are to the -rest of the limbs. The result will be useful wherever the free play -and vigour of the fingers are needed; would therefore, I anticipate, -be especially advantageous to musicians, and I am inclined to add to -painters and to writers also.” ... - - * * * * * - -_From_ ERASMUS WILSON, F.R.S. - -“On carefully thinking over your demonstration of gymnastic exercises -as applied to the hand, I can see in it only good; it is ingenious, -practical, and physiological, and eminently adapted for the purpose to -which you propose to adopt it; namely, the manipulation of the strings -and keys of musical instruments. I am glad to hear that you intend to -give your labours to the public very shortly.... I see no possible -inconvenience, much less danger, in the process.” - - * * * * * - -_From_ DR VIRCHOW, _Professor of pathological Anatomy, Berlin_. - - _June 3rd._ - -TRANSLATION. - -“The exposition of your proposed Gymnastics for the regular exercise -of those portions of the body which are used most partially, namely, -the fingers, deserves, assuredly, a great and practical recognition. -They are addressed, according to my opinion, to a real want or hiatus. -Not only will they very naturally serve as a special preparation for -musical objects, but also for a like participation of the muscle-groups -of the forearm and the hand, which, in all the usual labours of daily -life, are only very partially brought into action. In the case of men -who only write, and women who sew, or do other fine work, the great -disadvantages arising from the special pressure in individual groups -of muscles will be altogether avoided; and I regard it as extremely -probable that your gymnastics will diminish or entirely remove many -disorders, such as writing-cramp, contortions, &c.” - - * * * * * - - _Official extract from the books of the_ SOCIETY OF PHYSICIANS AT - BERLIN _of the Meeting held by them_, _June 6th_. - - _President_—DR BEREND, Member of the Royal Privy Council, and Director - of the Gymnastic-orthopedic Institution, Berlin. - - _Secretary_—DR GUMBINNER. - -“Mr Jackson from England delivered a lecture upon gymnastics of the -fingers and wrist. The fatigue which immediately attended the playing -on the violin late in life, incident even to a person strong and -athletic in all other respects, led him to the discovery, after -lengthened investigations, _first_, that the fingers are the least -exercised of all the active muscles of the human body; _secondly_, -that they are thereby, on physiological grounds, also the weakest; -and _thirdly_, as he afterwards on minute investigation found out, -that the finger-muscles are almost the only active muscles in the -frame to which a properly constituted system of gymnastics had never -been applied. He discovered that the cause of this fatigue lies in -the want of finger-training; and the lecturer explained, and adduced -proof, that the muscles, hitherto constrained in their movements by -tight transverse ligaments, are instantaneously set free by gymnastic -stretching applications to those ligaments. The society expressed -itself entirely in accord with the theory as well as the practice which -the lecturer adduced; they desired to add that both the one and the -other are entirely new to them, and to express a belief that the same -will be introduced into every school in Germany as soon as they shall -be made known. - -“In expressing their best thanks to Mr Jackson for his most interesting -discourse, the society desire to record the fact, which the lecturer -in soliciting their indulgence stated, that he had commenced the study -of the German language for the first time at a late period of life, -namely, at the age of 52 years, exactly six years ago; nevertheless -the lecturer seems to have mastered its great difficulties, and has -delivered gratuitously this and many other lectures extempore in -excellent German, an achievement which the society believes to be -without precedent.” - -Expressions of marked approval have also been received from W. -FERGUSSON, F.R.S., _Surgeon Extraordinary to the Queen_, PROFESSOR R. -OWEN, F.R.S., D.C.L., _British Museum_, DR JOSEPH HIRTH, _Professor of -Anatomy, Vienna_, and other distinguished persons. - - * * * * * - - _From_ JOHN HULLAH, _Professor of Music in King’s College and in - Queen’s College; Organist of Charterhouse, &c., &c._ - - _July 27th, 1865._ -Mr Edwin W. Jackson has called attention to an anatomical fact which -is likely to prove of great importance to students of instrumental -music; and the apparatus and course of exercises by which he proposes -to turn the knowledge of this fact to account seem well calculated for -the attainment of the object he has in view—that of increasing the -strength, pliability, and expansiveness of the hand.” - - * * * * * - - _From_ E. F. RIMBAULT, LL.D., F.S.A., _Member of the Royal Academy - of Music in Stockholm; Musical Examiner in the Royal College of - Preceptors, London, &c., &c._ - -“Mr E. Ward Jackson’s discovery is of the _highest importance_ to all -performers on musical instruments requiring the use of the fingers. -Several attempts have been made, at different times, to construct -apparatus which would give strength and elasticity to these important -members of the hand; but they have all signally failed. Mr Jackson -has been the _first_ to consider the subject _philosophically_ and -_anatomically_. His discovery will form an era in the progress of the -manipulation of the art.” - - * * * * * - -_From_ JULES BENEDICT, _Pianist_. - - _July 22nd, 1865._ - -“I believe that Mr Jackson’s simple but ingenious contrivance will -be highly beneficial for the musical student, and contribute to the -clearness of touch and independence of the fingers. Experiments on a -large scale, and in schools where music is taught, would still more -contribute to acquaint the public with his clever and useful invention.” - - * * * * * - -_From_ PROFESSOR WYLD, _Mus. Doc., Cantab.; Professor of Music in -Gresham College_. - - _July 23rd, 1865._ - -“Many thanks for sending me your pamphlet, which I have read very -carefully. It has interested me very much, and I have no doubt of the -practical excellence of your discovery.” - - * * * * * - - _From_ PROSPER SAINTON, _Leader of the Royal Italian Opera; of the - Sacred Harmonic Society; of the Musical Society of London; and of the - New Philharmonic Society_. - - _Aug. 5th, 1865._ - -“I have great pleasure in adding my testimony to that given to you by -so many artists. I congratulate you upon your invention, which I am -certain will be of great utility to pupils of the violin, in giving to -their fingers strength and elasticity.” - - * * * * * - -_From_ WALTER MACFARREN, _Professor of Pianoforte in the Royal Academy -of Music_. - - _July 28th, 1865._ - -“Mr. Edwin W. Jackson has done me the favour to explain to me his new -system of gymnastics for the fingers, and I have no hesitation in -stating that in my opinion it is calculated to obtain, by the simplest -means, the independence of wrist and flexibility of finger essential -to the pianist, or indeed to the performer on any keyed instrument. I -consider that the introduction of this system would be of great value -to both professor and pupil in schools and conservatories where music -is studied.” - - * * * * * - -_From_ JOS. JOACHIM, _Violinist_. - -“I must, on reflection, admit that the gymnastics for the fingers -which you suggest must, by proper application of the same, contribute -greatly to strengthen and render pliant the finger-joints.” - - * * * * * - -_From_ PROFESSOR MOSCHELES. - -“Your very ingenious discovery that the necessary strength and -flexibility of the fingers for pianoforte and violin-playing can be -effected by means of cylinders placed between the fingers and other -appliances, must prove to be of great use.” - - * * * * * - -_From_ DR H. H. PIERSON, _Professor of Music, Edinburgh_. Many -thanks for your staff, which is an excellent idea, and a very -useful invention, as well as the cylinders. The advice contained in -your ‘Finger und Handgelenk Gymnastik,’ together with the set of -regulations there laid down, is of eminent value, if properly attended -to, as a means of preparing the fingers and wrists for playing the -piano, violin, &c., and for rendering them strong and flexible, the -two indispensable requisites. I particularly admire the extreme -simplicity of all your inventions, which really remind one of the -‘Egg of Columbus,’ and I should not be surprised if your ideas (so -disinterestedly offered to the public) were to introduce a new era in -the study of the pianoforte and stringed instruments. They must also be -of signal service to organists, to whom I should specially recommend -your apparatus.” - - * * * * * - -_From_ HERRN LAUTERBACH, _Violinist_. - -“Being always very much in favour of gymnastics of all kinds, I hasten -to inform you that your discovery relating thereto has interested me -very much, and I am satisfied that great good will arise from it.” - - * * * * * - - _From_ HENRY BLAGROVE, _Professor of the Royal Academy of Music; - Leader of the Philharmonic Society; of the Musical Society of London., - &c., &c._ - - _July 22nd, 1865._ - -“On perusal of your MS. relative to the development of the muscles -of the hands, &c., as applied to musicians, I have great pleasure in -offering you my testimony to its being a valuable adjunct to musical -tuition where mechanical action is required, such as for the piano, -or violin and violoncello. I think it shortens the usual routine of -practising to gain strength, and will give at once freedom and force to -the hand, fingers, arm, &c.” - - * * * * * - -_From_ J. T. CARRODUS, _Leader of Her Majesty’s Theatre_. - - _July 23rd, 1865._ - -“I am convinced that Mr Jackson’s invention for the development of -the muscles of the fingers and hand will be of great value to musical -students.” - - * * * * * - -_From_ E. AGUILAR, _Pianist_. - - _July 22nd, 1865._ - -“I consider Mr Ward Jackson’s system for the fingers remarkable for -its simplicity, ingenuity, and efficacy. I believe that its universal -adoption must materially benefit and assist all who cultivate -instrumental music.” - - * * * * * - -_From_ W. GEO. CUSINS, _Pianist, Organist to Her Majesty_. - - _July 27th, 1865._ - -“I beg you will permit me to say how much interested I was this morning -with the highly ingenious method of developing the hand you were kind -enough to explain to me. I believe your discovery to be of great -importance to musicians who use their fingers. For myself I intend -trying your system, and shall likewise make my pupils use it.” - - * * * * * - -_From_ LINDSAY SLOPER, _Pianist_. - - _July 31st, 1865._ - -“Allow me to express to you the interest I felt in your system of -finger-gymnastics as shown to me by you last week. Your inventions seem -to me very likely to produce the results you have sought, and I should -be very glad to see their utility tested in our music-schools.” - - * * * * * - -_From_ B. MOLIQUE, _Pianist_. - - _July 22nd, 1865._ - -“Mr Jackson’s gymnastic invention for the fingers and wrists will be of -great benefit to musical students.” - - * * * * * - -_From_ J. BALSIR CHATTERTON, _Harpist to Her Majesty the Queen_. - - _July 31st, 1865._ - -“I have taken time to think over your ingenious invention, and am of -opinion that it will be of incalculable service to harp players. I can -only hope that it will become extensively known, and shall be glad to -hear of the publication of your forthcoming work.” - - * * * * * - -_From_ JOHN THOMAS, _Harpist, Professor of the Royal Academy of Music; -Pencerdd Gwalia_. - - _July 25th, 1865._ - -“I have much pleasure in bearing testimony to the importance of Mr -Jackson’s simple but clever invention for rendering the fingers -independent of each other, and in preparing them for execution upon -any musical instrument, thus greatly facilitating the attainment of -execution; and I sincerely hope that his invention will be made public, -in order that the world may derive the full benefit of it.” - - * * * * * - -_From_ JACQUES BLUMENTHAL, _Pianist_. - - _July 25th, 1865._ - -“I have great pleasure in stating that I consider Mr Edwin W. Jackson’s -new system of gymnastics for the fingers a very ingenious invention, -and as simple as I believe it to be useful to the student; and if -generally adopted would prevent, no doubt, many a headache engendered -by the now prevailing system of exercises for the pianoforte and -violin.” - - * * * * * - -_From_ ADOLF POLLITZER, _Violinist, Royal Italian Opera_. - - _July 24th, 1865._ - -“Mr Jackson deserves the thanks of every instrumentalist for his clever -invention for strengthening the fingers; and those who follow his very -ingenious system must find great benefit from it.” - - * * * * * - -_From_ R. SIDNEY PRATTEN, _Flautist, Royal Italian Opera_. - - _July 7th, 1865._ - -“I feel satisfied that your very ingenious yet simple invention for -the exercise and strengthening of the fingers to the players of wind -instruments will be of the greatest value, as flexibility and strength -can be obtained even though the instrument may not be at hand; and I -shall have great pleasure in recommending it to all my pupils, as well -as professional brethren, as a thing indispensable for the purpose for -which it is intended.” - - * * * * * - -_From_ HENRY LAZARUS, _Clarionetist, Royal Italian Opera_. - - _August 9th, 1865._ -I was very pleased indeed this morning to hear you explain your -invention of ‘Gymnastics for the Fingers.’ It is extremely clever, and -I consider it will be of the greatest service to all performers on -wind instruments, as well as to pianists and performers on stringed -instruments. I conceive it will give great facility and lessen the -labour.” - - * * * * * - -_From_ ALFRED NICHOLSON, _Oboist, Royal Italian Opera_. - - _July 24th, 1865._ - -“The system of gymnastics for the hand, invented by Mr Edwin Jackson, -is, in my opinion, calculated to be of great service to musical -professors and students, from the increased strength and flexibility -the fingers must gain by practice under this method.” - - * * * * * - -_From_ H. C. DEACON, _Pianist_. - - _July 28th, 1865._ - -“I think your system of hand-exercise, as explained to me the other -morning, likely to be a useful adjunct to the pianoforte, inasmuch as -it tends to give increased extensions to an important part of the hand.” - - * * * * * - -_From_ JAMES HOWELL, _Contrebassist, Royal Italian Opera_. - - _August 25th, 1865._ - -“It is with great pleasure that I testify to the soundness and -excellence of your system of gymnastics for the hand, as giving -flexibility and power to the fingers. It would prove of great advantage -to any member of the musical profession, if properly carried out.” - - * * * * * - - _The whole of the Orchestra of the Royal Opera-house at Stuttgart in - Wurtemberg, testified individually as follows_: - -“That Mr Jackson’s discoveries and his gymnastics for the fingers and -wrist must certainly conduce to a quick and sure attainment of a solid -and a lasting execution upon the pianoforte, as also upon stringed -and wind instruments, that they are new and eminently practical, and -deserve to be everywhere adopted.” - - * * * * * - -_From_ EDWARD J. HOPKINS, _Organist to the Hon. Societies of the Inner -and Middle Temple_. - - _Sept. 13th, 1865._ -Mr Jackson has been so good as to explain to me —and to exhibit, his -apparatus and course of exercises for developing and strengthening the -muscles and powers of the hand, which I firmly believe are calculated -to be of very considerable importance to all practitioners upon musical -instruments.” - - -*** END OF THE PROJECT GUTENBERG EBOOK JACKSON'S GYMNASTICS FOR THE -FINGERS AND WRIST *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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- margin-right: 10%; - font-size: 0.9em; - } - -.footnote .label { - position: absolute; - right: 84%; - text-align: right; - } - -.fnanchor { - vertical-align: super; - font-size: .8em; - text-decoration: none; - white-space: nowrap - } - - -/* Transcriber's notes */ - -.transnote { - background-color: #E6E6FA; - color: black; - font-size:smaller; - padding:0.5em; - margin-bottom:5em; - font-family:sans-serif, serif; - } - -/* Illustration classes */ -.illowp10 {width: 10%;} -.illowp100 {width: 100%;} -.illowp40 {width: 40%;} -.illowp45 {width: 45%;} -.illowp50 {width: 50%;} -.illowp55 {width: 55%;} -.illowp60 {width: 60%;} -.illowp75 {width: 75%;} -.illowp80 {width: 80%;} - - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Jackson's Gymnastics for the Fingers and Wrist, by Edwin Ward Jackson</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Title: Jackson's Gymnastics for the Fingers and Wrist</p> -<p style='display:block; margin-left:2em; text-indent:0; margin-top:0; margin-bottom:1em;'>being a system of gymnastics, based on anatomical principles, for developing and strengthening the muscles of the hand for musical, mechanical and medical purposes: with thirty-seven diagrams</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Edwin Ward Jackson</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Engraver: Berndt</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: February 11, 2022 [eBook #67375]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Charlene Taylor, Les Galloway and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK JACKSON'S GYMNASTICS FOR THE FINGERS AND WRIST ***</div> -<div class="transnote" > - -<h4>Transcriber’s Notes</h4> - -<p>Obvious typographical errors have been silently corrected. Variations -in hyphenation have been standardised but all other spelling and -punctuation remains unchanged.</p> - -</div> - -<div class="chapter"></div> - -<hr class="chap x-ebookmaker-drop" /> - - -<p class="center"><i>In preparation.</i></p> - -<div class="blockquot"> - -<p class="hang">A Hand-book of Bodily Exercises, based -upon A. Ravenstein’s “Volks-Turnbuch,” and edited by -E. G. Ravenstein, F.R.G.S., &c., President of the German -Gymnastic Society of London, and John Hulley, Director of -the Athletic Club, Liverpool. In one volume, 8vo, pp. 400, -and 700 woodcuts.</p> -</div> - -<p>This will be the most complete work on Gymnastics and all -descriptions of bodily exercises ever published in the English -language.</p> - -<p><span class="smcap">Contents</span>: History of Gymnastics—Constitutiom of Gymnastic -Societies—On the manner of conducting the Exercises—Distribution -into Squads—Training of Instructors—Gymnastic -Festivals and Competitions—Sanitary Rules—Exercises without -apparatus—(free exercises, walking, running, co-operative and -facto-gymnastical exercises, wrestling, boxing, &c.)—Exercises -with portable apparatus (wands, dumb-bells, clubs, bars, &c.)—Exercises -at fixed apparatus (rack, parallel bars, horse, buck, -climbing and escalading, leaping and vaulting, swings, &c.).</p> - -<hr /> -<p class="center">LONDON: N. TRÜBNER & CO., 60, PATERNOSTER ROW.</p> - -<hr class="chap x-ebookmaker-drop" /> - - -<h1> -JACKSON’S<br /> -GYMNASTICS FOR THE FINGERS AND WRIST,</h1> - -<p class="center space-above"> -<small>BEING</small><br /> -<br /> -A SYSTEM OF GYMNASTICS,<br /> -<br /> -<small>BASED ON ANATOMICAL PRINCIPLES,—FOR DEVELOPING AND<br /> -STRENGTHENING THE MUSCLES OF THE HAND; FOR MUSICAL,<br /> -MECHANICAL, AND MEDICAL PURPOSES.</small></p> - -<p class="center spaced">With thirty-seven Diagrams.</p> - -<p class="center">LONDON:<br /> -N. TRÜBNER & CO., 60, PATERNOSTER ROW.<br /> -1865.<br /> - -<small>[<i>Right of Translation reserved.</i>]</small></p> - - -<p class="center spaced"><small>The whole of the Engravings contained in this work were executed for -the author by Berndt, in Berlin, July, 1864.</small><br /> -<br /> -<small>The apparatus referred to in this work may be had, price 3s. 6d., of Messrs -Metzler & Co., 36 to 38, Great Marlborough Street, W.</small></p> - - -<p class="center"><small>JOHN CHILDS AND SON, PRINTERS.</small></p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_v">[Pg v]</span></p> - -<h2 class="nobreak" id="PREFACE">PREFACE.</h2> -</div> - - -<p>The subject of this little work develops, -on anatomical and physiological principles, a -system of Gymnastics for the Fingers and -Wrist, the object of which is—, to lay a solid -and scientific foundation for the acquisition of -technical skill in the fingers and wrist, as applied -to the playing on musical instruments -and to finger-work generally.</p> - -<p>For a detailed account of the circumstances -under which this system was discovered, I refer -to the Introductory Remarks, wherein I have -explained the process of reasoning and the series -of experiments, which enabled me to arrive at the -results I have now the pleasure of submitting -to the consideration of my countrymen; more -especially to all those among them who are<span class="pagenum" id="Page_vi">[Pg vi]</span> -engaged in musical pursuits, or any other work -requiring the constant use of the fingers.</p> - -<p>I may simply state that both the scientific -principles and the practical utility of this -system of Gymnastics—, after having been subjected -to the test of numerous experiments—, -have met with the approval of the highest -anatomical, musical, and gymnastic authorities -of Germany; at whose special solicitation I was -induced to make these discoveries known by -means of public and private lectures—, delivered -gratis in the German language in many German -cities—, during a journey undertaken at -my own expense, in the course of the summer -of 1864.</p> - -<p>I gladly avail myself of this opportunity to -return my best thanks to Professors Hyrtl, -Virchow, Hermann Meyer, and Griesinger; -to Drs Richter, C. C. Carus, J. V. Carus, -Berend, and Angerstein; to Professors Moscheles, -Kullak, Stern, Geyer, Kittl, Joachim, -and Lauterbach; to Capellmeister Taubert, -Ferdinand Hiller, Lachner, Strauss, Abenheim, -Täglichsbeck, and Meyer; to Concertmeister -F. Schubert, Carl Baermann, Scholtz, Singer, -Grün, and many others whom space precludes<span class="pagenum" id="Page_vii">[Pg vii]</span> -me from mentioning here,—for the assistance -they have given me, and for the kind and -favourable reception which they, the press, and -the public generally, gave to my lectures.</p> - -<p>And I indulge the hope that this little -work may meet with the same approval from -the medical, musical, and gymnastic authorities -in this country, and be a means of practical -utility among those for whom it is more particularly -intended.</p> - -<p>In all the gymnastic establishments -throughout Europe and the civilized world, -gymnastic exercises have been introduced for -every part of the body <i>except for the Fingers</i>, -notwithstanding that it is these important -members of the human frame—with the mental -organs—which chiefly distinguish Man from -the Brute creation.</p> - -<p>Therefore I venture to dedicate to the -public—, “Gymnastics for the development of -the Muscles, Ligaments, and Joints of the -Fingers and Hand”—, specially adapted to</p> - -<p>Musicians of all classes,</p> - -<p>Authors, and all who are occupied much -in writing,</p> - -<p><span class="pagenum" id="Page_viii">[Pg viii]</span></p> - -<p>Artists and Draughtsmen,</p> - -<p>Printers and Compositors,</p> - -<p>Lithographers and Engravers on steel -and copper,</p> - -<p>Workers in ivory and wood,</p> - -<p>Watch-makers and fine Mechanicians.</p> - -<p>Spinners and Weavers, for</p> - -<p>All female handiwork, for</p> - -<p>Surgical and anatomical processes, for the -treatment of rheumatism, contortions, and -other diseases of the Fingers and Hand,—and -for</p> - -<p>All those who require a flexible Hand, or -who earn their bread with their Fingers.</p> - -<p class="psig"> -EDWIN W. JACKSON.</p> - -<p class="pdate"><small><i>September</i>, 1865.</small></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_ix">[Pg ix]</span></p> - -<h2 class="nobreak" id="CONTENTS">CONTENTS.</h2> -</div> - - - -<table class="standard" summary=""> -<tr> -<td></td> -<td></td> -<td class="tdr"><small>PAGE</small></td> -</tr> -<tr> -<td class="tdl" colspan="2">PREFACE.</td> -</tr> -<tr> -<td class="tdh" colspan="2">INTRODUCTORY REMARKS ON THE ORIGIN OF THIS -SYSTEM OF GYMNASTICS FOR THE FINGERS AND -WRIST</td> -<td class="tdrb">1</td> -</tr> -<tr> -<td class="tdl">CHAP.</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_I">I</a>.</td> -<td class="tdh">ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, ETC.</td> -<td class="tdrb">16</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_II">II</a>.</td> -<td class="tdh">THE MUSCLES OF THE HAND AND OF THE FINGERS</td> -<td class="tdrb">22</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_III">III</a>.</td> -<td class="tdh">EFFECTS OF THIS GYMNASTIC TREATMENT ON -THE MUSCLES, LIGAMENTS, AND JOINTS OF -THE FINGERS AND THE HAND</td> -<td class="tdrb">29</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_IV">IV</a>.</td> -<td class="tdh">NEGLECT HITHERTO OF THE HAND AND FINGERS</td> -<td class="tdrb">35</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_V">V</a>.</td> -<td class="tdh">THE FINGER-JOINTS ARE THE LEAST EXERCISED, -AND THE WEAKEST</td> -<td class="tdrb">39</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_VI">VI</a>.</td> -<td class="tdh">THE PRINCIPAL DIFFICULTY DOES NOT CONSIST -IN THE READING OF MUSIC, BUT IN -THE WEAKNESS OF THE FINGERS</td> -<td class="tdr">41<span class="pagenum" id="Page_xi">[Pg xi]</span></td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_VII">VII</a>.</td> -<td class="tdh">MUSIC IS THE ART WHICH MAKES THE HIGHEST -DEMANDS ON THE MUSCLES OF THE -FINGERS. MOVING THE FINGERS UP AND -DOWN INSUFFICIENT</td> -<td class="tdrb">44</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_VIII">VIII</a>.</td> -<td class="tdh">ARTISTS AND TEACHERS OF MUSIC</td> -<td class="tdrb">46</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_IX">IX</a>.</td> -<td class="tdh">FREE GYMNASTIC EXERCISES FOR THE FINGERS -AND THUMB</td> -<td class="tdrb">49</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_X">X</a>.</td> -<td class="tdh">FREE GYMNASTIC EXERCISES FOR THE THUMB</td> -<td class="tdrb">55</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XI">XI</a>.</td> -<td class="tdh">FREE GYMNASTIC EXERCISES FOR THE WRIST</td> -<td class="tdrb">58</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XII">XII</a>.</td> -<td class="tdh">MECHANICAL FINGER-EXERCISES</td> -<td class="tdrb">63</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XIII">XIII</a>.</td> -<td class="tdh">MECHANICAL FINGER-EXERCISES (CONTINUED)</td> -<td class="tdrb">70</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XIV">XIV</a>.</td> -<td class="tdh">MECHANICAL FINGER-EXERCISES (CONTINUED)</td> -<td class="tdrb">80</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XV">XV</a>.</td> -<td class="tdh">BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY -THOSE OF THE THUMB AND THE -LITTLE FINGER</td> -<td class="tdrb">84</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XVI">XVI</a>.</td> -<td class="tdh">ON STRINGED INSTRUMENTS IN PARTICULAR. -THE WRIST OF THE RIGHT HAND</td> -<td class="tdrb">86</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XVII_CONTINUED">XVII</a>.</td> -<td class="tdh">CONTINUATION</td> -<td class="tdrb">89</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XVIII">XVIII</a>.</td> -<td class="tdh">CONTINUATION. STACCATO</td> -<td class="tdrb">92</td> -</tr> -<tr> -<td class="tdrt"><a href="#CHAPTER_XIX">XIX</a>.</td> - -<td class="tdh">CONCLUDING REMARKS</td> -<td class="tdrb">95</td> -</tr> -</table> - - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_1">[Pg 1]</span></p> - -<h2 class="nobreak" id="INTRODUCTORY_REMARKS">INTRODUCTORY REMARKS<br /> - -<small>ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR -THE FINGERS AND WRIST.</small></h2></div> - - -<p>If any one should desire to know how and -in what manner I, as a private individual, came -to hit upon these discoveries, I answer simply:</p> - -<p>Six years ago I took my family, principally -consisting of daughters, to Germany, to have -them educated there, and especially to obtain -for them good instruction in music. I soon -found that the method of teaching the pianoforte -then in general use was very fatiguing -and trying to the nerves; at the same time, as -Germany stands at the head of the musical -world, that method, as a matter of course, must -be considered the best which we at present<span class="pagenum" id="Page_2">[Pg 2]</span> -know. In order to investigate that system more -minutely, I visited several musical schools and -conservatories for music in Germany, inquiring -what was the very best method known for -strengthening the fingers and wrist, for bringing -them into order and preparing them to -play the pianoforte? The answer I everywhere -received was as follows: “The chief difficulties -and impediments to be overcome in teaching -the piano, the violin, and almost all other musical -instruments, are muscular, and lie in the -joints of the fingers and wrists; and the very -best method of rendering them strong and -flexible is frequently and perseveringly to move -the fingers up and down on the instrument, -preserving the hand in the same position. This -movement, together with the usual finger-exercises, -if continued for five or six years, and -diligently carried out, is usually sufficient to -render the joints and muscles of the fingers -agile and flexible, and to bring the fingers -generally into order.”</p> - -<p>I inquired further, “Are those exercises -not very fatiguing?” to which I was answered,<span class="pagenum" id="Page_3">[Pg 3]</span> -“They certainly are very trying to the muscles -and nerves;” and whether “the health of the -students, male and female, did not suffer thereby?” -to which the reply was, that it did, and -that, indeed, it was sometimes necessary for -them to discontinue playing for some months; -but then they added, “It must be remembered -that learning to play the piano was in itself at -all times attended with very considerable difficulties.”</p> - -<p>I observed that this result was really -lamentable; and inquired whether there did -not exist any other method for obtaining the -same end and becoming proficient on the -piano? To this I received a negative answer, -and was again told, “After all possible experiments, -it is the opinion of all artists and -teachers at the present time, in all cities in -Europe, that the method alluded to is <i>the most -effective</i> of any we know for imparting quickness -and flexibility to the joints of the fingers -and wrist.”</p> - -<p>Now on observing that my daughters -suffered in the same manner, I said to myself,<span class="pagenum" id="Page_4">[Pg 4]</span> -“There must surely be something wrong -here.” And here I would mention the fact -that when I was 12 or 13 years of age I -learnt the violin, and afterwards for upwards -of 35 years discontinued it. But later in life, -desiring to accompany my children, I was -induced to take up the violin again. I then -found that, although I was in all other respects -exceedingly strong and healthy and capable of -all athletic exercises, my fingers and hand in a -few minutes became painfully fatigued. The -same result followed whenever I took the violin -in hand,—in fact, I found that my fingers were -the only weak parts of my body. This happened -a few years ago, about the same time when the -above-mentioned inquiries took place, exciting -in me great surprise and an earnest desire to -search into the cause. I thought to myself, -“There must underlie some unknown hidden -cause to account for this phenomenon. I will -thoroughly probe the matter.” For this purpose -I now put myself in the way of those -individually who earn their bread by the sweat -of their brow, viz., the smith, the joiner, the<span class="pagenum" id="Page_5">[Pg 5]</span> -bricklayer, the labourer, the peasant, the -gardener, the wood-cutter, the miner, &c. &c. -I found that all these persons work with their -<i>arms</i>, and thereby acquire muscle like steel and -arms like giants; but that none of them work -with their <i>fingers</i>.</p> - -<p>After this I visited boys’ and girls’ schools, -and also observed them in their families; and -there I found again that nearly all of them in -their work made <i>no use</i> of the <i>fingers</i>. The -same observation I made with the educated -classes, of every age and sex.</p> - -<p>This discovered to me the fact that the -muscles of the fingers are <i>extremely little exercised</i> -in the ordinary occupations of life; and -must, therefore, on physiological ground, be -weak; a fact of much importance.</p> - -<p>I then repaired to the most renowned gymnastic -establishments of the Continent, and -begged to be shown all the varied gymnastic -exercises practised on the body, from the -crown of the head to the sole of the foot, and -when all these various movements had been -exhibited before me, I inquired “But where<span class="pagenum" id="Page_6">[Pg 6]</span> -are your gymnastic exercises for the <i>fingers</i>?” -“We have none.” “Why?” “We never -thought of it.” “But they require them surely -as much or more than all!” “It has never -occurred to us; we did not know the fingers -required gymnastics, and they have been -entirely overlooked.” This disclosed to me -another great fact; namely, that the fingers -are the <i>only active members</i> of the human -body to which a properly constituted system of -gymnastic exercises has <span class="allsmcap">NOT</span> been applied.</p> - -<p>I thereupon visited houses and institutions -where men <i>do</i> work with their fingers, viz., where -carvers in wood and ivory, in steel, copper, and -stone, painters and draughtsmen, watchmakers -and fine mechanists, spinners and weavers, printers -and compositors, &c., drive their trade, and -after that, people who are in the habit of writing -much, and even the whole day, such as authors, -copyists, clerks, stenographers, lithographers, -as well as sempstresses and workwomen;—in -short, all those who have much finger-work, or -earn their living by their fingers. And here I -observed all kinds of finger diseases, such as<span class="pagenum" id="Page_7">[Pg 7]</span> -stiffness of the joints and limbs, writers’ cramp, -hands and forearms debilitated in the highest -degree, paralyzed limbs, nervous weakness, &c. -Then I said to myself, “A light begins to dawn -upon me. I find, <i>first</i>, that the fingers are the -least exercised, in the ordinary occupations of -life, of all the active members of the body; -<i>secondly</i>, that they are on that account relatively -and physiologically the weakest; and, <i>thirdly</i>, -that they are also the <i>only</i> active members which -are not gymnastically trained and treated. I -must consider the matter now <span class="allsmcap">ANATOMICALLY</span>, -<span class="allsmcap">PHYSIOLOGICALLY</span>, and <span class="allsmcap">GYMNASTICALLY</span>.”</p> - -<p>And I forthwith began to make all sorts -of artistic and mechanical experiments, for the -purpose of gymnastically exercising, stretching, -and developing the muscles, the ligaments, and -joints of the fingers and hands in all directions, -so as to strengthen and prepare them for playing -the piano and the violin, as well as other -instruments, and for all kinds of finger-work -and handicraft.</p> - -<p>In doing so I studied the physiology of the -muscles and ligaments, and directed especial<span class="pagenum" id="Page_8">[Pg 8]</span> -attention to the <i>transverse metacarpal ligament</i>. -In comparing this anatomy with the -difficulties experienced, I sought to discover -a means more particularly of stretching the -<i>ligaments</i> or bands which run <i>transversely</i> -across the hands and knuckles. This I succeeded -in effecting, and then I discovered, to -my astonishment, that the moment I had applied -my gymnastic movements to these stout -and very obstinate elastic bands, the <i>muscles</i> -became instantaneously looser, and moved -with greatly increased freedom and agility. -In a word, the <i>muscles were set free</i>.</p> - -<p>At the same time I tried on <i>myself</i> various -simple, natural, free movements with the joints -of the fingers, in order to examine them practically -and physiologically, and thus to found -a system on solid principles. And I may here -be permitted to state as the result, in my own -case, that though at that time 54 years of age, -after I had diligently practised the course of -gymnastic exercises herein described, a comparatively -short time, every day, my fingers -and wrists became so strong and flexible that I<span class="pagenum" id="Page_9">[Pg 9]</span> -was able to play, and can now play upon the -violin many hours daily in succession without -fatigue.</p> - -<p>I caused the same to be tried by many -other persons also, of different ages. Then I -found, to my surprise, in each case that, in the -absence of proper gymnastic exercises, these -most important parts of the human frame, -owing to their being so unpractised in the -ordinary occupations of life, and being consequently -so weak, are not equal to the least -work or exertion beyond the usual movements -of daily life, and that whenever anything -beyond the ordinary routine is required of -them, they are found to be utterly incapable -of fulfilling the task.</p> - -<p>Then I said to myself, “I now see as clear -as sunlight whence arise the extraordinary -difficulties of learning to play the piano and -violin. They arise from the very fact that an -art the most difficult, from a muscular point of -view, which we know of, has to be performed -with the <i>least practised</i> and, proportionately, -the <i>weakest of muscles</i>. The impediments and<span class="pagenum" id="Page_10">[Pg 10]</span> -difficulties in almost all cases can be referred to -the muscles; and it is this weakness which -must be overcome.”</p> - -<p>Upon this I repaired to anatomical, chirurgical, -and medical institutions, in order to -study still further the anatomy of the hand, the -fingers, and the arm. I found that the muscles, -the ligaments, and the tendons of the fingers -and hands consist of elastic masses, intersecting -the hand, and running <span class="allsmcap">TRANSVERSELY</span> as -well as <span class="allsmcap">LONGITUDINALLY</span>; and I especially discovered, -after a number of experiments, that -the <span class="allsmcap">TRANSVERSE LIGAMENTS</span>, <i>unless they be exercised, -remain quiet and stiff, and impede to a -certain extent the movements and activity of the -muscles</i>, when the latter are more than ordinarily -exerted; that in order practically to -exercise and stretch them, and particularly -the <span class="allsmcap">TRANSVERSE</span> ligaments and tendons, and -to render them strong and supple, it is -necessary not only to move the fingers up -and down, but laterally also; that, in short, -both muscles and ligaments ought to be -practised gymnastically; and that the fatigue<span class="pagenum" id="Page_11">[Pg 11]</span> -and the danger to health, the nervous weakness -and the disgust often observed in musical -students, arise from the following causes:</p> - -<p><i>Firstly</i>, that the muscles, tendons, and ligaments -of the hand and fingers are, proportionately, -the least practised, and, consequently, -as stated before, the weakest;</p> - -<p><i>Secondly</i>, that they have never been gymnastically -trained or treated;</p> - -<p><i>Thirdly</i>, that the methods now in use for -strengthening those weak muscles and rendering -them flexible are insufficient and erroneous;</p> - -<p><i>Fourthly</i>, that the <i>transverse ligaments have -never been stretched</i>; thus on these several -grounds hampering the learning of music with -unnatural difficulties, and with exertions of the -muscular and nervous system injurious to -health;</p> - -<p><i>Fifthly</i>, that so soon as the muscles are -properly and gymnastically exercised, and -the ligaments and tendons stretched, the -fingers set at liberty move glibly and freely -over the instrument; and,</p> - -<p><i>Sixthly</i>, that all this is readily accounted<span class="pagenum" id="Page_12">[Pg 12]</span> -for on the simplest, though till now unexplained, -anatomical and physiological grounds.</p> - -<p>And as regards the different persons and -classes already mentioned, who earn their living -with their fingers, it would have been -easy to prevent the various diseases of the -same to which they are exposed, if the joints -of their fingers and hands had previously been -daily practised, strengthened, and prepared by -transversal and longitudinal gymnastic exercises. -And more than this, those sad infirmities -might, in most cases, either have been entirely -cured or at any rate alleviated by the above -muscular treatment. Besides, a continuance of -the same diseases would be easily obviated, if -such treatment were resorted to.</p> - -<p>Then I asked myself, “Is any one to blame -that the facts just mentioned have not been -previously known and acted upon?” No one. -It certainly is not the fault of the artist and -teacher, because their task, so great in itself, -did not necessarily lead them to direct their -attention to this speciality of gymnastics. Nor -could anatomists and physicians, nor other<span class="pagenum" id="Page_13">[Pg 13]</span> -learned men, in treating problems more nearly, -and perhaps more important in themselves, be -expected to have thought of it. As we are -frequently indebted to chance for the most -important discoveries, so it has been with this -one. For my part, I lay claim to very little. -The idea had taken hold of me that a hiatus -and a want in the method of learning and -practising music, also in finger-work of various -kinds, existed, and I set to work to fill up -the former and to satisfy the latter. For -several years I have indefatigably pursued this -work in Germany, and after multifarious trials, -experiments, and exercises, I have happily -achieved the following simple system of -gymnastics, whose aim and object, as regards -<i>music</i>, after full and complete proof, are; by -strengthening the muscles and stretching the -ligaments through careful training, to impart -to them flexibility and agility, to shorten considerably -the time of study, and facilitate the -work of both teachers and students; whilst -as regards all classes generally who work with -their fingers, it is calculated to a great extent<span class="pagenum" id="Page_14">[Pg 14]</span> -to render their work more easy, and in case of -disease of the fingers and hands, to prevent it, -to cure it, or at the least to diminish its injurious -consequences.</p> - -<p>Having been requested by the highest anatomical -and artistic authorities in Germany to -give publicity to this method and to explain it -personally, I undertook, in 1864, at my own expense, -from love of the art, a journey through -many towns of the Continent, where, as already -stated, I delivered, in the German language, a -number of private and public lectures on the -subject. And here I desire specially to crave -the forgiveness of my kind German friends, if, -in delivering those lectures, I did not at all -times express myself in accents of the purest -German, since I only commenced the study of -that difficult language,—for the first time in my -life,—six years ago, after I had attained the -age of 52 years. The exposition of this method -having met with cordial approval, I now offer the -result of my labours to artists, musical students, -and to all friends of music, as well as to all those -who work much with their fingers, or who suffer<span class="pagenum" id="Page_15">[Pg 15]</span> -from finger disease; also to anatomists, physiologists, -surgeons, and gymnasts; indulging -the hope that, if applied correctly and carefully, -they will go far towards removing the -evils to which I have alluded, and be of much -practical usefulness and advantage.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_16">[Pg 16]</span></p> - -<h2 class="nobreak" id="CHAPTER_I">CHAPTER I.<br /> - -<small>ANATOMY OF THE HAND. ON LIGAMENTS, -TENDONS,<br />&c. &c.</small>.</h2></div> - - -<p>The skeleton of the hand, consisting of 27 -bones and moved by 40 muscles, most ingeniously -combines firmness with pliant flexibility, -is equally fit for rough work and the most -subtle occupation, and corresponds in its well-balanced -mechanism with that mental superiority -through which man, amongst all creatures -the poorest in means of defence, becomes -the ruler of living and inanimate nature. The -hand, fixed to the end of a long articulated -column of bones, and, through its skin-covering, -particularly in the cavity, endowed with high -sensibility, raises itself to the importance of an -organ of feeling, which, moveable in all directions,<span class="pagenum" id="Page_17">[Pg 17]</span> -apprizes us of the extent of matter, and of -its physical qualities.</p> - -<p>The most ancient forms of measurement -have, therefore, been taken from the length of -the several subdivisions of the hand. The -capability of the hand of assuming the hollow -shape of a spoon, and of being stretched like a -shovel, determines its use for gathering and -for turning up matter. The curvature of the -fingers forms a strong and broad hook, which -renders excellent service in climbing; and the -thumb, whose position enables it to be placed -opposite all the other fingers, acts in conjunction -with the latter like a pair of pincers, -capable of seizing and feeling smaller objects. -The thumb being easily moveable and strong -at the same time, is a privilege of the human -hand. It powerfully opposes itself against the -other fingers into the <i>fist</i>, for the seizing and -holding of heavy objects. In doing this the -thumb indeed performs almost as much as the -remaining fingers taken together; it represents -one half of a pair of pincers, wherefore <i>Albin</i> -has called it <i>Manus parva</i>.</p> - -<p><span class="pagenum" id="Page_18">[Pg 18]</span></p> - -<p>The unequal length of the fingers is well -adapted for the taking hold of spherical forms, -and the fingers being bent towards the hollow -of the hand and held together, encloses an -empty space, which is shut by the thumb -serving as a lid. The wrist of the hand, -having a circular shape, and being composed of -several bones, is much less exposed to the -danger of being broken, than if one single -curved bone were to take its place. Its cavity, -which by <i>strong transversal ligaments</i> is transformed -into a ring, protects the bending tendons -of the fingers from pressure and friction. The -firm connection between the middle hand and -the wrist renders possible the actions of <i>stemming</i> -and <i>hurling</i> with the hands, and the -longitudinal curve of the separate bones of the -middle hand, as well as their lying one at the -side of the other, and convexly towards the -back of the hand, facilitates the forming of the -cavity of the hand. The great moveability of -the fingers, and the many possible combinations -of their relative positions, have made them the -instruments of language by signs. The deep<span class="pagenum" id="Page_19">[Pg 19]</span> -slits separating them allow of folding the -hands, in order to press with double force, and -the bending of the two last finger-joints, which -can only take place at an angle, imparts to the -clenched fist a force which once usurped the -place of right. How necessary the joint action -of both hands is for certain performances is -proved by the old proverb: <i>Manus manum -lavat</i>. In short, all the thousandfold occupations -of the hand which necessity commands -and the mind develops, and which are an exclusive -prerogative of man, become practicable -through the wonderful structure of this instrument.<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a></p> - -<p>As regards the system of the gymnastic -training of the fingers in particular, which I -am now placing before the public, it is founded -on an important fact, namely, the action of the -<span class="allsmcap">LIGAMENTS AND TENDONS</span>.</p> - -<p>It has been acknowledged at all times, that -if a muscle is to be made both stronger and<span class="pagenum" id="Page_20">[Pg 20]</span> -quicker in its movements, it should be exercised; -that the ligaments and tendons play, in -these exercises, an indispensable part, has -hitherto (to use the words of a celebrated German -physiologist), hardly been sufficiently -acknowledged or explained. It is further -known, that the principal method now in use -of strengthening and rendering flexible the -joints and muscles of the fingers in playing the -piano, consists in alternately raising and dropping -the fingers, and that this method requires -very great exertion, and consumes very much -time. Now, I have found, by means of many -different experiments and exercises, which I -have made with the hand and the fingers, that -the tight ligaments and skin-folds, intersecting -the hand <i>transversely</i>, unless they be exercised, -and if they be allowed to remain firm, for this -very reason, <i>impede the movements of the muscles</i> -whenever they are more than ordinarily -exerted; while, on the contrary, the stretching -of the <i>transversal ligaments</i> produces a remarkable -influence on the moveability of the fingers -and the hand, facilitates the work of the <i>muscles</i>,<span class="pagenum" id="Page_21">[Pg 21]</span> -and imparts to them freedom, steadiness, and -precision.</p> - -<p>By placing the cylinders to be used for this -purpose between the fingers for only a very short -time, and thereby exercising the <i>ligaments</i> of -the hand, both <i>transversely</i> and longitudinally, -the movement of the fingers is at once rendered -much easier and quicker. This result can -only be explained by the fact that the ligaments -and folds of the hand, having been -stretched by the cylinders, have become -loosened, and, therefore, as I said before, impede -less the muscles in their fatiguing work. If, -on the other hand, all the muscles, ligaments, -and tendons are put into motion in both -directions, longitudinally and transversely, -they soon become strong and flexible.</p> - -<p><span class="pagenum" id="Page_22">[Pg 22]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> Joseph Hyrtl: Lehrbuch der Anatomie. 4te Auflage. -Wien, 1855. Erasmus Wilson, F.R.S., System of Human -Anatomy. 8th Edition. London, 1862.</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_II">CHAPTER II. - -<small>THE MUSCLES OF THE HAND AND OF THE FINGERS.</small></h2> -</div> - - -<p>Leaving aside the vessels and nerves unconnected -with our subject, we may describe the -hand as being composed of three classes of -organs, 1. bones with joints, 2. ligaments, -3. muscles.</p> - - -<p>1. <span class="smcap">Bones with joints.</span></p> - -<p>The hand is subdivided into five separate -limbs (fingers), lying one at the side of the -other, and being, at the lower end, firmly joined -together into one whole. Each of these five -limbs (fingers) is composed of a row of bones, -having the nature of long bones. The first of -these bones, next to the lower arm, is called -the metacarpal or middle-hand bone (Fig. 1 <i>a</i>); -the others are called finger-joints. The thumb<span class="pagenum" id="Page_23">[Pg 23]</span> -has only two finger-joints, the other fingers -three each. The <i>fourth and fifth fingers are the -weakest of all</i>.</p> - -<div class="figcenter illowp80" id="image023" style="max-width: 50em;"> - <img src="images/image023.jpg" alt="" /> - <div class="caption">Fig. 1.</div> -</div> - -<p>The union of the five fingers into one whole -is effected by means of the extremities of -the middle-hand bones, commonly known as -knuckles, which are turned towards the forearm, -being connected with one another by<span class="pagenum" id="Page_24">[Pg 24]</span> -<i>very tight transversal ligaments</i> (Fig 2 <i>aa</i> and -Fig. 3 <i>bb</i>), and being thus connected, are -again fixed to a row of four roundish bones, -joined to one another in the same manner -(Fig. 1 <i>b</i>). Thus, the five middle-hand bones -and the four bones of the upper wrist form -one firm structure. In this structure the -middle-hand bone of the thumb and of the<span class="pagenum" id="Page_25">[Pg 25]</span> -little finger can be more easily moved than -the others.</p> - -<div class="figcenter illowp80" id="image024" style="max-width: 50em;"> - <img src="images/image024.jpg" alt="" /> - <div class="caption">Fig. 2.</div> -</div> - -<p>On account of this moveability of the two -extreme middle-hand bones, it is possible to -move the two edges of the hand close to one -another, whereby the cavity of the hand -assumes the shape of a groove.</p> - -<p>The structure here described (the hand, in -the narrower sense of the word) is joined to -the lower arm by means of three muscles, the -posterior row of the bones of the wrist (Fig. -1 <i>c</i>). The movement between these bones and -the hand is hardly anything but a hinge-movement; -that between them and the lower -arm, however, is a movement in almost all -directions. The bending and stretching of -the hand is, therefore, produced with the -participation of both joints, the side movement -of the hand, however, almost exclusively by the -joint situated between the posterior row of the -bones of the wrist and the lower arm.<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a></p> - -<p><span class="pagenum" id="Page_26">[Pg 26]</span></p> - - -<p>2. <span class="smcap">Ligaments.</span></p> - -<p>All the finger-joints are provided with -capsules, which are woven out of strong -<i>transversal</i> fibres (Fig. 3 <i>aa</i>). The bones of -the wrist are connected between themselves -and with the bones of the middle-hand by -tight transversal and longitudinal ligaments, as -seen in Fig. 2 <i>aa</i>, <i>bb</i>. Lastly, the <i>two ends -of the middle-hand bones, or knuckles, are connected -with one another and with the first joints -of the fingers by a separate strong, transversal -ligament</i> (Fig. 2 <i>aa</i>, Fig. 3 <i>bb</i>).</p> - - -<p>3. <span class="smcap">The Muscles of the Hand</span> consist</p> - -<p>1. Of muscles (four in number) rising from -the lower arm and bending the wrist up and -down, right and left (Fig. 3 <i>c</i>, <i>d</i>, <i>e</i>).</p> - -<p>2. Of muscles of the fingers. These are -subdivided into—</p> - -<p><i>a.</i> Extensors of the fingers, being situated -in the back part of the hand and rising from -the bones of the lower arm (Fig. 4 <i>a</i>).</p> - -<p><i>b.</i> Benders of the fingers. Two muscles, -the one for the second joints of the fingers<span class="pagenum" id="Page_28">[Pg 28]</span> -(Fig. 3 <i>d</i>), the other for the first joints of the -fingers and the joints of the nails (Fig. 3 <i>e</i>) -also rising from the bones of the lower arm.</p> - -<div class="figcenter illowp75" id="image027" style="max-width: 62.5em;"> - <img src="images/image027.jpg" alt="" /> - <div class="caption">Fig. 3.</div> -</div> - -<p>c. Contractors of the fingers, rising from -the hand itself, between the bones of the -middle-hand (Fig. 4 <i>b</i>), and extending as far as -the first finger-joint (Fig. 4 <i>b</i>).</p> - -<p>d. Two muscles, also rising from the cavity -of the hand, and moving the little finger towards -the thumb (Fig. 3 <i>g</i>).</p> - -<p>Lumbricales, or Flexores primi Internodii -Digitorum, are situated in the hollow of the -hand, and pass to their tendinous implantations -with the interossei at the first joint of -each finger, externally and laterally, next the -thumb (Fig. 4 <i>a</i>, <i>b</i>). These perform those -minute motions of the fingers when the second -and third internodes are curvated by the -muscles, and therefore are used in playing -musical instruments, whence they are named -Musculi Fidicinales, or fiddle-muscles.<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a></p> - -<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Luther Holden, Manual of Anatomy (London, 1861), -Lecturer on Anatomy in Bartholomew’s Hospital. Hermann -Meyer: Lehrbuch der Physiologischen Anatomie. Leipzig, 1856.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> William Cowper, Myotomia reformata. London, 1724. -Richard Quain, Professor of Clinical Surgery, Surgeon -Extraordinary to the Queen.</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_III">CHAPTER III.<br /> - -<small><span class="hang">EFFECTS OF THIS GYMNASTIC TREATMENT ON THE -MUSCLES, LIGAMENTS, AND JOINTS OF THE FINGERS -AND THE HAND.<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a></span> -</small></h2></div> - - -<p>After the explanations just given, it may -readily be conceived what effects the cylinders -placed between the fingers and the gymnastic -staff must produce on the joints and ligaments -of the hand.</p> - -<p>1. The ligaments connecting the bones of -the middle-hand amongst themselves and with -the fingers (Fig. 2 <i>aa</i>) are extended and -stretched (Fig. 3 <i>bb</i>), and thus those joints, so -important in playing on musical instruments, -are rendered more moveable.</p> - -<p><span class="pagenum" id="Page_30">[Pg 30]</span></p> - -<p>2. The connecting links between the bones -of the middle-hand and the bones of the wrist -are loosened (Fig. 2 <i>bb</i>).</p> - -<p>3. Almost all the ligaments of the cavity of -the hand are made flexible.</p> - -<p>4. At the same time, all the muscles of the -hand, and particularly the muscles situated -between the bones (Fig. 4 <i>b</i>), generally so -little practised, are stirred into activity by the -cylinders, the stick, the staff, and the free -exercises.</p> - -<p>From the diagrams (Fig. 2 and 3) it may be -plainly seen, what was mentioned before, viz., -that the movement of the middle-hand and of -the bones of the wrist in general, unless -specially practised, is very inconsiderable; -while through the cylinder gymnastics prescribed -in this work, that limited movement -of the bones is rendered more easy. It may -also be seen from the diagrams that, if both the -great and the small <i>tight transversal ligaments</i> -remain still and firm, they impede and render -more difficult the free movement of the fingers -in every direction; and these ligaments will<span class="pagenum" id="Page_31">[Pg 31]</span> -always remain stiff and tight, unless they be -specially trained.</p> - -<div class="figcenter illowp80" id="image031" style="max-width: 50em;"> - <img src="images/image031.jpg" alt="" /> - <div class="caption">Fig. 4.</div> -</div> - - -<p>For this reason the cylinder exercise, just -mentioned, is particularly intended to loosen -the impeding <i>transversal ligaments</i>, as well as -to exercise and strengthen all the muscles of -the hand and fingers.</p> - -<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> - -<p>To convince yourself that this opinion is -correct, extend your fingers for two minutes -only with the cylinders alluded to, and you -will find that the fingers instantaneously move -much more easily, and that the muscles, liberated -from their tight, stiff neighbours, act -with much greater freedom.</p> - -<p>In the same manner as with the cylinders, -the greatest advantage may be experienced -from the use of the gymnastic staff or stick.</p> - -<p>The principle on which these movements -are founded is, that by them almost all the -muscles of the hand and the fingers, the -smallest as well as the largest, which in -playing musical instruments and all the other -occupations of the fingers bear the chief part, -are stirred into action. At the same time, -the extraordinary effect of the free exercises -on the large finger-joints and on the ligaments -and tendons is increased. And further—every -portion of the hand and fingers, -ligaments, tendons, joints, and particularly -the muscles, are well practised, strengthened, -and rendered flexible, by the fingers being<span class="pagenum" id="Page_33">[Pg 33]</span> -stretched and extended on, pressed and exercised -against, a solid body. Finally, while -imparting to the muscles of the fingers and -hand far greater strength and ease than the -continued quick movement on the musical -instrument is calculated to affect, all these -exercises affect the <i>nerves</i> in a lesser degree, -and prepare the fingers for all kinds of work.</p> - -<p>These results, observed and tested by me -countless times, are of the greatest importance -to all those who work with their fingers, -but more particularly to those engaged in -musical pursuits, who, instead of being overwhelmed -with fatiguing work as before, will -find that by these exercises their studies are -facilitated and divested of much of their previous -trouble and vexation.</p> - - -<p><span class="smcap">The Wrist.</span></p> - -<p>This joint, which for players on the piano -and other instruments is of such great importance -(Fig. 2 <i>c</i>), should also be exercised -gymnastically; since, by means of the<span class="pagenum" id="Page_34">[Pg 34]</span> -gymnastic exercises here recommended, strength -and flexibility will be gained in a very short -time, and a great deal of trouble saved. Nor -ought it to be overlooked that for all those -who work with their fingers, a flexible, pliant -wrist is a great help, and that by it all the -joints of the hand are made to act harmoniously -together.</p> - -<p><span class="pagenum" id="Page_35">[Pg 35]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> Anatomists and physicians of great eminence have observed -to me, “Your anatomical researches have solved some -important questions long held in dispute by physiologists, and -are of great practical value.”</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_IV">CHAPTER IV.<br /> - -<small>NEGLECT HITHERTO OF THE HAND AND FINGERS.</small></h2></div> - - -<p>Many books have been written on gymnastics, -but I am not acquainted with one -which treats of the gymnastical exercise of the -<i>fingers</i>. Why these important members of -the human body should until now have been -so much overlooked and neglected, it is difficult -to understand. For, as Professor Richter -in Dresden says, “Next to the more powerful -development of the brain, it is almost exclusively -the structure and skill of the fingers -and hand which raises man above the brute, -and has made him ruler of the earth.”</p> - -<p>In order, therefore, to heighten the capacities -of the human hand, the joints of the -hand and fingers should, from early youth, be<span class="pagenum" id="Page_36">[Pg 36]</span> -exercised gymnastically, as much and in as -many various ways as possible, partly by free -exercises, partly by means of mechanical appliances.</p> - -<p>Gymnastics, according to anatomists and -physicians, is the <i>stretching</i>, <i>extending</i>, <i>pressing</i>, -and <i>training</i> of the muscles, the ligaments, -and the limbs of the body.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a></p> - -<p>Flexibility, agility, and strength can be<span class="pagenum" id="Page_37">[Pg 37]</span> -acquired only by means of a regular exercise of -the muscles of the body.</p> - -<p>Strength and power impart agility and -quickness. This every physician and every -sensible man knows.</p> - -<p>A soldier only becomes fit for his work -after the muscles of his body have been gymnastically -attended to and developed. Any -man, having to perform hard physical labour, -must exercise his muscles gymnastically, and -every one ought to exercise those particular -limbs the use of which is most necessary for -his profession.</p> - -<p>And more than any one else, the <i>teachers of -music</i> have to experience the consequences of -a want of skill and strength in the hands of -many learners, and they know how greatly -a systematic educational training of the fingers -and hands for the execution of the more delicate -movements is needed at all times.</p> - -<p>Nevertheless, there are many arts besides -music for which the hand ought to be -also trained from early youth, in order to be -able permanently to accomplish, in later years,<span class="pagenum" id="Page_38">[Pg 38]</span> -what is excellent, <i>e. g.</i>, many kinds of handicraft, -machine-work, needle-work, anatomy, -and surgery, writing and drawing, and all -fine manipulations.</p> - -<p>An untrained hand will either remain -clumsy in these branches of work, or it will -soon fail through over-exertion, which causes -a peculiar kind of paralysis, connected with -cramp, and well known to writers (the so-called -writers’ cramp), but which also affects musicians, -artists, shoemakers, tailors, sempstresses, -and other working people. Certain it is, -that if this matter had been inquired into before, -and public attention directed to it, a -great deal of trouble and vexation in learning -music might have been saved; the labour of -many working people of all classes, who chiefly -have to use their fingers, have been greatly -facilitated; and, moreover, many diseases of -the joints of the fingers and hand might have -have been prevented.</p> - -<p><span class="pagenum" id="Page_39">[Pg 39]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> The following quotations from the works of some of -the leading authorities may be of interest to the reader:—</p> - -<p>“Methodical gymnastic exercises of the hands and fingers -afford the very best means of overcoming the technical difficulties.”—Schmidt’s -“Annals of Medicine.”</p> - -<p>“Technical difficulties will most safely and quickly be conquered -by proper gymnastic exercises of the hand and fingers.”—Dr Dietz, -Member of the Royal Council of Medicine.</p> - -<p>“To obtain technical skill and muscular steadiness, a gymnastic -education is the best means.”—P. M. Link. -The gymnast exercises his limbs through preparatory -exercises; how, therefore, is it possible for the player of the -piano and violin to dispense with this gymnastic preparation of -the joints of the hand and fingers?”—Prof. Rector v. Schmidt, -President of the Royal Gymnasium. -“La souplesse et l’étendue des poignets dépendent du -développement gymnastique des forces. La gymnastique développe -l’aisance et la grâce.”—Dr M. Bally. -“For so great an art as piano or violin playing, the muscles -of the fingers are weak; they ought to be prepared by proper -gymnastic exercises.”—Ferguson.</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_V">CHAPTER V.<br /> - -<small>THE FINGER-JOINTS ARE THE LEAST EXERCISED, -AND THE WEAKEST.</small></h2></div> - - -<p>To become a skilful musician is no small -matter. There is no art which demands more -labour, patience, and especially more <i>time</i>, than, -for instance, piano or violin playing; and at -least half of that time is for years required for -the particular purpose of strengthening the -muscles of the fingers, and rendering them -flexible. And why so many years? Because -the muscles, the ligaments, and the tendons of -the finger-joints and wrists have not previously -been gymnastically exercised and trained.</p> - -<p>To prove in a practical manner that it is -particularly important to prepare the muscles -and ligaments of the fingers and hand, I -will cite a fact which may appear startling,<span class="pagenum" id="Page_40">[Pg 40]</span> -but which, nevertheless, is true, viz., that the -muscles and tendons of the fingers, in spite of -their great importance, are, proportionately -speaking, the least of all practised in daily life.</p> - -<p>Take all sorts of people from amongst the -labouring classes, such as the smith, the -joiner, the gardener, the bricklayer, the stone-mason, -the husbandman, the day-labourer, &c., -&c. They are at work the whole day, and acquire -arms like steel and muscle like giants; -but they very <i>rarely</i> use the <i>fingers</i>, which, -therefore, remain unexercised. And it is the -same with the educated classes, without difference -of age or sex.</p> - -<p>This is the reason why the learning of -piano and violin playing is attended with such -great difficulties, and why the muscles and -ligaments of the hand ought to be trained by -proper gymnastic exercises. For their weakness -arises, for physiological reasons, from the -very fact of their inactivity.</p> - -<p>This fact I will satisfactorily prove in the -sequel, for it forms the basis and key of my -discoveries.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_41">[Pg 41]</span></p> - -<h2 class="nobreak" id="CHAPTER_VI">CHAPTER VI.<br /> - -<small>THE PRINCIPAL DIFFICULTY DOES NOT CONSIST IN -THE READING OF MUSIC, BUT IN THE WEAKNESS -OF THE FINGERS.</small></h2> -</div> - - -<p>In the opinion of many, the chief difficulty -to be overcome in studying music consists in -learning to <i>read it</i>. But this is by no means -the case. The reading of music is learned in -the same manner as a child learns to read -letters. The first difficulties having been -mastered, the task is easy; as with a printed -book, so with music.</p> - -<p>Consequently the paramount difficulty is -not in the <i>notes</i>, but in the weakness and -<i>awkwardness of the fingers</i> and wrists. From -this, again, it may be plainly seen how necessary -it is to train the <i>fingers</i> before commencing<span class="pagenum" id="Page_42">[Pg 42]</span> -the work of the <i>head</i>. In short, what is -wanted is a regular gymnastic training for the -muscles of the fingers, the joints, and the -wrists; and it will be found that the following -exercises, being as desirable as they are applicable -for every age, will strengthen and render -them flexible in a most surprising manner, will -materially shorten the time of study, and save -much labour; nevertheless, on that account -<i>the ordinary finger-practice, scales, and studies -should of course</i> <span class="allsmcap">NOT</span> <i>be omitted</i>.</p> - -<p>Suppose a boy from 10 to 14 years old, -who is strong and healthy by means of -gymnastics and other exercises, set to learn the -piano or violin. His body is strong with -gymnastic exercises, but his wrists and fingers -are weak and awkward. How is he, with the -method now in use, to succeed in playing an -instrument well, without very long and wearying -work? No wonder that the painful exertion -almost makes him despair, and that finally -he gives up the thing altogether. But if, on -the contrary, his fingers and joints have been -gymnastically trained and exercised beforehand,<span class="pagenum" id="Page_43">[Pg 43]</span> -he will get on easily and quickly, and -continue his studies with pleasure.</p> - -<p>Many presidents and teachers of the most -celebrated gymnastic institutions have, therefore, -come to the determination to introduce -into their establishments these exercises in addition -to the other branches of gymnastic training. -Their practical utility for all those who -work with their fingers, for anatomists, surgeons, -sculptors, watchmakers, and many -others, is as evident as their salutary effect;—from -a medical point of view, in curvature and -paralysis of the hand and forearm, in weakness -of the muscles and nerves, writers’ cramp, and -similar complaints,—is undeniable.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_44">[Pg 44]</span></p> - -<h2 class="nobreak" id="CHAPTER_VII">CHAPTER VII.<br /> - - -<small>MUSIC IS THE ART WHICH MAKES THE HIGHEST -DEMANDS ON THE MUSCLES OF THE FINGERS. -MOVING THE FINGERS UP AND DOWN INSUFFICIENT.</small></h2> -</div> - - -<p>These exercises for persons engaged in -musical pursuits can, least of all, be dispensed -with, because music is the art which makes -the highest demands on the muscles of the -fingers and wrists.</p> - -<p>Eminent physiologists say, “Gymnastic exercises -for the fingers and joints ought to have -been commenced 150 years ago; they form -the real foundation of practical art.”</p> - -<p>It is, indeed, incredible that so great an -art as piano and violin playing should have -arrived at so high a stage of perfection without<span class="pagenum" id="Page_45">[Pg 45]</span> -a previous training of the muscles. As a -matter of course, this is only to be ascribed -to the unremitting exertions and the indefatigable -zeal of the teachers, and to the unwearying -industry of the pupils. And how much -easier might this have been attained!</p> - -<p>The muscles, ligaments, and tendons consist -of soft elastic matter, and, as has been -stated, run partly <i>longitudinally</i>, partly <i>transversely</i>. -This is a point to be borne in mind. -It is, therefore, one-sided and erroneous to believe -that the best means of strengthening the -muscles consists in simply raising and dropping -the fingers. All one-sided practice is hurtful; -and an exercise of the fingers limited to -an upward and downward movement, occasions -much severe work. If, on the other hand, the -muscles be moved according to physiological -principles, in all directions, both laterally and -up and down, and trained gymnastically, they -will become within a very short time strong -and flexible.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_46">[Pg 46]</span></p> - -<h2 class="nobreak" id="CHAPTER_VIII">CHAPTER VIII.<br /> - -<small>ARTISTS AND TEACHERS OF MUSIC.</small></h2></div> - - -<p>If any one should say that he has diligently -studied the piano and violin after the -method used at present, and in course of time -has learned and taught it with the greatest -success, without having found it necessary to -trouble himself about any other system, my -reply is, that music is one of the most beautiful, -and with respect to muscular work, the -most difficult of arts, and that all the arts and -sciences, music not excepted, have made enormous -strides in advance during the present -century. But exactly because music has become -a universal boon for all classes of the -civilized world, one ought to be so much the -less disposed to shut out new ideas respecting<span class="pagenum" id="Page_47">[Pg 47]</span> -it, from whatever side they may come. The representatives -of this art, professional musicians -and teachers of music, are generally the most -active and often the most educated men, who -devote their lives to the art, and promote it in a -way which is hardly acknowledged sufficiently -by the musical world. The most highly honoured, -however, are those who have made the -greatest progress in theory and in practice, or -who have readily and generously acknowledged -such progress, from whatever direction it -might come.</p> - -<p>It is, therefore, the duty of all to assist -teachers of music and proficients, as much as -possible, in promoting this beautiful accomplishment; -for this reason, encouraged by -persons of the highest distinction, and moved -by the love of the art and of mankind, I venture -to make known my “<i>Gymnastics of the -Fingers and Wrist</i>,” and to offer to all who -work with their fingers in general, and to -musicians in particular, a means which, based -on physiological principles, leads most surely -to the attainment of artistic execution, and<span class="pagenum" id="Page_48">[Pg 48]</span> -which is in itself so simple, that any child may -use it; a means, too, which will effect a great -saving of time and facilitate the work of both -teachers and students.</p> - -<p>I have only to add that, as a matter of -course, these exercises, in order to have -the desired effect, should be performed -<i>gymnastically and regularly</i>, according to <i>the -directions</i> given, and not otherwise; whilst, on -the other hand, they ought <i>not to be carried -to excess, nor are they intended to supersede the -usual finger-exercises, scales, and studies</i>.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_49">[Pg 49]</span></p> - -<h2 class="nobreak" id="CHAPTER_IX">CHAPTER IX.<br /> - -<small>FREE GYMNASTIC EXERCISES FOR THE FINGERS -AND THUMB.</small></h2></div> - - -<h3><i>First movement.</i></h3> - -<div class="figleft illowp45" id="image049a" style="max-width: 31.25em;"> - <img src="images/image049a.jpg" alt="" /> - <div class="caption">Fig. 5.</div> -</div> -<div class="figright illowp45" id="image049b" style="max-width: 31.25em;"> - <img src="images/image049b.jpg" alt="" /> - <div class="caption">Fig. 6.</div> -</div> - -<p>Stretch the fingers as much as possible -one from the other, let them fall on the large -muscle of the thumb (thumb-ball), and press<span class="pagenum" id="Page_50">[Pg 50]</span> -them firmly on it; <i>remain for a moment in -this position</i>, and bring the thumb against -the forefinger, 40 times up and down.</p> - -<p>You will find that this exercise, as well as -several others, if vigorously continued for -three minutes only, is very fatiguing; a clear -proof that the muscles of the fingers, although -they may be quite fit for ordinary daily occupations, -are, nevertheless, <i>very weak and incapable</i> -when anything more is demanded -from them, and without proper gymnastical -training, they must remain so.</p> - - -<h3><i>Second movement.</i></h3> - -<div class="figleft illowp45" id="image050a" style="max-width: 55.1875em;"> - <img src="images/image050a.jpg" alt="" /> - <div class="caption">Fig. 7.</div> -</div> - -<div class="figright illowp45" id="image050b" style="max-width: 25em;"> - <img src="images/image050b.jpg" alt="" /> - <div class="caption">Fig. 8.</div> -</div> - -<p>Stretch the fingers as before, but let the<span class="pagenum" id="Page_51">[Pg 51]</span> -finger-ends fall against the middle of the -cavity of the hand, instead of against the great -muscle of the thumb, and press them firmly. -To be repeated 40 times.</p> - - -<h3><i>Third movement.</i></h3> - -<p>The following exercise (9 and 10) is intended -particularly for the small joints of the -fingers. It is effective, but difficult.</p> - -<div class="figleft illowp45" id="image051a" style="max-width: 25em;"> - <img src="images/image051a.jpg" alt="" /> - <div class="caption">Fig. 9.</div> -</div> - -<div class="figright illowp45" id="image051b" style="max-width: 28.125em;"> - <img src="images/image051b.jpg" alt="" /> - <div class="caption">Fig. 10.</div> -</div> - -<p>Do not stretch the fingers away from one -another, but hold them firmly and close together, -as this produces the effect particularly -desired. Bend the two first finger-joints of -the four fingers closely together; move them<span class="pagenum" id="Page_52">[Pg 52]</span> -vigorously up and down, and press them on -<i>firmly</i>, without, however, moving the large -joints. Repeat this movement until you are -tired, which will not be long, thus affording -another practical proof how weak the untrained -finger-joints are. This is also an excellent -exercise for the thumb, provided it -is made slowly and vigorously. It may also -be made with outstretched fingers.</p> - -<p>I again repeat that no one who has not -already tried the above or similar exercises -of the fingers, will be able vigorously to continue -them for even so short a time as three -minutes without experiencing painful fatigue. -And why? Because, as I have demonstrated -before, the joints of the fingers and wrists -are, in the ordinary occupations of life, the -least of all exercised, and consequently the -weakest, in comparison with what they have -afterwards to perform.</p> - -<p>After this experience people will, in future, -hardly venture to teach and to continue the -exercise of an art like music (which, from a -muscular point of view, is the most difficult<span class="pagenum" id="Page_53">[Pg 53]</span> -of all), with muscles the weakest and least -trained, without having previously prepared -them by proper gymnastic exercises.</p> - - -<h3><i>Fourth movement.</i></h3> - -<div class="figcenter illowp80" id="image053a" style="max-width: 50em;"> - <img src="images/image053a.jpg" alt="" /> - <div class="caption">Fig. 11.</div> -</div> - -<div class="figcenter illowp80" id="image053b" style="max-width: 50em;"> - <img src="images/image053b.jpg" alt="" /> - <div class="caption">Fig. 12.</div> -</div> - -<p>The last free exercise for the finger-joints, -which I will recommend here (11 and 12), -consists in moving all the fingers and the<span class="pagenum" id="Page_54">[Pg 54]</span> -thumb simultaneously together, that is to say, -in stretching them far away from one another, -like claws, and making all sorts of eccentric -movements in whatever direction you please, -and as long as you like or are able, but always -vigorously.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_55">[Pg 55]</span></p> - -<h2 class="nobreak" id="CHAPTER_X">CHAPTER X.<br /> - -<small>FREE GYMNASTIC EXERCISES FOR THE THUMB.</small></h2></div> - - -<p>Although it is not easy to prescribe complete -gymnastic exercises for the thumb, the -following, if made vigorously, will, nevertheless, -be found very effective.</p> - - -<h3><i>First movement.</i></h3> - -<div class="figleft illowp50" id="image055a" style="max-width: 25em;"> - <img src="images/image055a.jpg" alt="" /> - <div class="caption">Fig. 13.</div> -</div> -<div class="figright illowp40" id="image055b" style="max-width: 25em;"> - <img src="images/image055b.jpg" alt="" /> - <div class="caption">Fig. 14.</div> -</div> - -<p><span class="pagenum" id="Page_56">[Pg 56]</span></p> - -<p>Stretch the fingers as far as possible away -from one another, then press the hand firmly -together, the thumb being held fast in the -cavity of the hand; continue for a moment in -this position, and then repeat the same movement, -alternately opening and closing the -hand.</p> - - -<h3><i>Second movement.</i></h3> - -<div class="figcenter illowp60" id="image056" style="max-width: 31.25em;"> - <img src="images/image056.jpg" alt="" /> - <div class="caption">Fig. 15.</div> -</div> - -<p>Hold the fingers close together, stretch -out the thumb, and then perform with the -latter a circular movement inside the hand, -first 20 times to the right, then 20 times to -the left: to be repeated again and again.</p> - -<p><span class="pagenum" id="Page_57">[Pg 57]</span></p> - - -<h3><i>Third movement.</i></h3> - -<div class="figcenter illowp80" id="image057" style="max-width: 62.5em;"> - <img src="images/image057.jpg" alt="" /> - <div class="caption">Fig. 16.</div> -</div> - -<p>Take hold of the thumb of the one hand -with the fingers of the other, or with the whole -hand, and shake it or bend it to its root, without, -however, overdoing either.</p> - -<p>In short, perform every day some exercise -with the thumb, whereby it will be sufficiently -brought into exercise.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_58">[Pg 58]</span></p> - -<h2 class="nobreak" id="CHAPTER_XI">CHAPTER XI.<br /> - - -<small>FREE GYMNASTIC EXERCISES FOR THE WRIST.<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a></small> -</h2></div> - -<h3><i>First movement.</i></h3> - -<div class="figleft illowp50" id="image058a" style="max-width: 25em;"> - <img src="images/image058a.jpg" alt="" /> - <div class="caption">Fig. 17.</div> -</div> - -<div class="figright illowp40" id="image058b" style="max-width: 25em;"> - <img src="images/image058b.jpg" alt="" /> - <div class="caption">Fig. 18.</div> -</div> - -<p>Move the wrist, <i>without moving the arm or -elbow</i>, vigorously up and down in a perpendicular -direction, from 20 to 40 times, first<span class="pagenum" id="Page_59">[Pg 59]</span> -slowly, then more quickly; finally, as quick -as possible. In doing so, let the elbows rest -close to the body, so as to bring both hands -and wrists into the proper position. As soon -as you are tired, leave off.</p> - - -<h3><i>Second movement.</i></h3> - -<div class="figleft illowp50" id="image059a" style="max-width: 28.125em;"> - <img src="images/image059a.jpg" alt="" /> - <div class="caption">Fig. 19.</div> -</div> - -<div class="figright illowp40" id="image059b" style="max-width: 19.125em;"> - <img src="images/image059b.jpg" alt="" /> - <div class="caption">Fig. 20.</div> -</div> - -<p>Move the hand horizontally or vertically -without moving the arm.</p> - -<p>To understand the practical utility of this -exercise (19, 20), it ought to be borne in mind -that the entire action of the wrist is effected by -two principal joints, one of which, the smaller -of the two, lies at the root of the hand, and is<span class="pagenum" id="Page_60">[Pg 60]</span> -called the “joint of the hand,” by means of -which it becomes possible to move the hand, -independently of the arm, at its root. The -other joint, the larger of the two, rises from -the elbow, and is called the rotatory joint of -the forearm. Holding, then, all the five fingers -close together, move the smaller joint perpendicularly -or horizontally, as you please, without -in any way moving the arm, and at the same -time holding the elbow close to the body.</p> - - -<h3><i>Third movement.</i></h3> - -<div class="figleft illowp45" id="image060a" style="max-width: 25em;"> - <img src="images/image060a.jpg" alt="" /> - <div class="caption">Fig. 21.</div> -</div> -<div class="figright illowp45" id="image060b" style="max-width: 25em;"> - <img src="images/image060b.jpg" alt="" /> - <div class="caption">Fig. 22.</div> -</div> - -<p>Move the wrist in a slanting direction right -and left, as above, first slowly, then quicker -and quicker. Hold the elbows as before. By<span class="pagenum" id="Page_61">[Pg 61]</span> -this movement, both the joints mentioned above -will be put into action, 21, 22.</p> - -<h3><i>Fourth movement.</i></h3> - -<div class="figcenter illowp50" id="image061" style="max-width: 50em;"> - <img src="images/image061.jpg" alt="" /> - <div class="caption">Fig 23.</div> -</div> - -<p>The young violinist, who generally finds the<span class="pagenum" id="Page_62">[Pg 62]</span> -sideways movement of the wrist of the right -hand so difficult, will derive great advantage -from all these wrist exercises.</p> - -<p>Holding your arm quite still, move the free -hand or fist vigorously round in a circle, -20 times to the right, and 20 times to the -left, first slowly, then more quickly. By -this exercise all the muscles of the hand and -the arm will be put into motion, and though -the most difficult of all, this is at the same -time one of the most important exercises.</p> - -<p>All these several free movements of the -hand and fingers may be repeated <i>many times</i>, -with advantage; still by simply performing -them, short though they be, daily and regularly, -the prescribed time only, the desired -end of strengthening the muscles of the fingers -and wrists, and rendering them vigorous -and flexible, will be surely attained.</p> - -<p>I could mention some other free exercises -of the fingers; but since they are neither so -practical nor so effective as those I have already -described, I prefer to omit them.</p> - -<p><span class="pagenum" id="Page_63">[Pg 63]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> One or two of these exercises may possibly have been -mentioned in some former work.</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_XII">CHAPTER XII.<br /> - -<small>MECHANICAL FINGER-EXERCISES.</small></h2></div> - - -<h3><i>First movement.</i></h3> - -<div class="figleft illowp45" id="image063a" style="max-width: 25em;"> - <img src="images/image063a.jpg" alt="" /> - <div class="caption">Fig. 24.</div> -</div> -<div class="figright illowp45" id="image063b" style="max-width: 25em;"> - <img src="images/image063b.jpg" alt="" /> - <div class="caption">Fig. 25.</div> -</div> - -<p>Take for each hand three cylinders, three -quarters of an inch long, and from half to one -inch in diameter, according to the size of the -fingers; place them between the upper ends<span class="pagenum" id="Page_64">[Pg 64]</span> -of the fingers, and while gradually and conveniently -extending the muscles, by bending the -fingers, move the latter as shown by the -above figures, 24 and 25.</p> - - -<h3><i>Second movement.</i></h3> - -<div class="figleft illowp45" id="image064a" style="max-width: 25em;"> - <img src="images/image064a.jpg" alt="" /> - <div class="caption">Fig. 26.</div> -</div> -<div class="figright illowp45" id="image064b" style="max-width: 25em;"> - <img src="images/image064b.jpg" alt="" /> - <div class="caption">Fig. 27.</div> -</div> - -<p>Move the cylinders further down, to the -roots of the fingers, and perform the exercises -according to Figs. 26 and 27. In doing this, -put a small round piece of wood between the -thumb and the forefinger, at a distance sufficient -to extend the former as much as possible.</p> - -<p>Leaving the other fingers as before, put a -large cylinder between the thumb and<span class="pagenum" id="Page_65">[Pg 65]</span> -forefinger (28 and 29), so as to entirely fill up the -intervening space. In doing this, be careful to -extend the thumb as much as possible. In case -the tension of the fingers is small, take smaller -cylinders: or if the latter should be too hard -for tender hands, cover them with some soft -substance, such as velvet, or the like.</p> - -<p> <i>Third movement.</i></p> - -<div class="figleft illowp45" id="image065a" style="max-width: 25em;"> - <img src="images/image065a.jpg" alt="" /> - <div class="caption">Fig. 28.</div> -</div> -<div class="figright illowp45" id="image065b" style="max-width: 25em;"> - <img src="images/image065b.jpg" alt="" /> - <div class="caption">Fig. 29.</div> -</div> - -<hr class="tb" /> - -<p>Perform all these exercises vigorously, and, -if possible, just before practising the musical -instrument, twice or three times daily, each -time for a few minutes, especially in the morning,<span class="pagenum" id="Page_66">[Pg 66]</span> -on getting up. As a matter of course, -after eight or 10 hours rest, the muscles of -the fingers and wrist, like those of the rest of -the body, are somewhat stiff, and ought to be -prepared by proper gymnastic exercises, before -beginning to play. Besides, <i>provided over-exertion -be avoided</i>, there is not, according to -the best medical authorities, the least danger to -be apprehended, from these exercises, for the -joints and muscles of even the very smallest -hands.</p> - -<p>If players of the piano and the violin should -object that, in the act of <i>playing</i>, the fingers -need not be as much extended as prescribed -here, or assert that the finger-exercises, scales, -and <i>études</i> as at present used are perfectly -sufficient, and that nothing more is wanted, -I can only repeat, that the fingers must be -<i>prepared</i> in order to render them strong and -flexible; that, for this purpose, it is necessary -to exercise them <i>gymnastically</i>, and that, as -I have explained before, these preparatory -exercises will save much time and trouble, and -facilitate the work of both teachers and pupils;<span class="pagenum" id="Page_67">[Pg 67]</span> -<i>further</i>—that, by the diligent practice of these -gymnastics, the fingers become elastic and -independent of each other; you acquire thereby -complete control over them, and <i>when you have -done this</i>, you can move them and do with -them as <i>you will</i>.</p> - -<p><span class="smcap">Another most effective</span> mode of stretching -and loosening the tendons and ligaments which -encompass the large middle-hand bones, or -“knuckles,” may be performed as follows:</p> - -<p>Place the forefinger of each hand, up to the -middle joint, firmly on the table, and in that -position press it up and down with a certain degree -of force, for a few seconds; then withdraw -it, and apply the next finger in a precisely -similar manner; then the two other fingers in -succession, each finger remaining on the table -alone, unaccompanied by any other.</p> - -<p>Afterwards apply the 2nd and 4th <i>together</i>, -exactly in the same way, for a few seconds; -then the 3rd and 5th; lastly the thumb.</p> - -<p>The pupil may do this many times a day -with great advantage; for by this process -the ligaments and tendons of the knuckles<span class="pagenum" id="Page_68">[Pg 68]</span> -are stretched and loosened, and the muscles -are set free.</p> - -<p>Of course always with due moderation.</p> - - -<p><span class="smcap">Another very important</span> exercise, bearing -chiefly on the tendons and ligaments of the -large metacarpal joints or knuckles, is the -following:</p> - -<p>With the thumb and forefinger of the one -hand take hold of one finger of the other hand, -and shake it up and down, for one minute, to -its root. Then take the other fingers in succession -in like manner. To be applied equally -to both hands, and to be done, especially with -the 4th and 5th fingers separately, as often as -leisure permits.</p> - -<hr class="tb" /> - -<p>To this category belongs also <span class="allsmcap">ANOTHER -EXERCISE</span> of the metacarpal joints or knuckles. -Into the palm of one outstretched hand place -the closed fingers or fist of the other: then -open and close the <i>latter</i> as fast and as long a -time as is agreeable, always continuing to press<span class="pagenum" id="Page_69">[Pg 69]</span> -upon the palm. Change hands and repeat. -Ever remember that the difficulties of bringing -the fingers into order lie, physiologically, almost -all in the middle-hand bones or knuckles; and -as the five preceding exercises,—and especially -the three last,—act in a very efficient and -special manner upon the ligaments, tendons, -and muscles of these and the other joints of the -fingers, they <i>cannot be made too often</i>.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_70">[Pg 70]</span></p> - -<h2 class="nobreak" id="CHAPTER_XIII">CHAPTER XIII.<br /> - -<small>MECHANICAL FINGER-EXERCISES (CONTINUED).</small></h2></div> - - -<p>It is not sufficient to play the ordinary -finger-exercises and scales. As has been -shown in the opening chapters, and in the -anatomical representations of the hand, all the -fingers are not equally strong; for instance, -the 4th and 5th fingers are, by nature, much -weaker than the others, and it is necessary to -remedy this inequality.</p> - -<div class="figleft illowp10" id="image071" style="max-width: 7.125em;"> - <img src="images/image071.jpg" alt="The staff" /> -</div> - -<p>Each finger ought, therefore, to have -gymnastic exercises <i>for itself</i>, and they ought -to be performed on some solid body, which can -be firmly grasped. For this purpose take a -round staff, from 12 to 18 inches long, and half -to three quarters of an inch thick, on which, at -a proper distance from one another, round<span class="pagenum" id="Page_71">[Pg 71]</span> -indentations are made, and into which -the fingers are to be placed after the -manner illustrated in the adjoining and -following figures.</p> - -<p><i>Directions.</i></p> - -<p>Place the thumb of each hand on -one side, and the four fingers <i>very -firmly</i> fixed on the other side of the -staff; <i>raise one finger as high as possible</i>, -and let it fall down vigorously, like a -hammer, 20 times in succession, while -the three remaining fingers, <i>stretched -out from one another</i>, like claws, remain -immoveable. In the same way -exercise the other fingers; firmly, -<i>slowly</i>, vigorously, and immediately -after the cylinder exercises just described. -Repeat this three times -daily, each time for five minutes, altogether -for 15 minutes a day, <i>but the -oftener it be done the better</i>.</p> - -<p>Those playing the piano need not -confine themselves to one particular -exercise, but may make use of all the -figures at pleasure.</p> - -<p><span class="pagenum" id="Page_72">[Pg 72]</span></p> - - -<div class="figcenter illowp100" id="image072" style="max-width: 75em;"> - <img src="images/image072.jpg" alt="" /> - <div class="caption">Fig. 32. <span class="gap10l" >Fig. 31.</span></div> -</div> - -<p><span class="pagenum" id="Page_73">[Pg 73]</span></p> - -<div class="figcenter illowp100" id="image073" style="max-width: 75em;"> - <img src="images/image073.jpg" alt="" /> - <div class="caption">Fig. 33.</div> -</div> - -<p><span class="pagenum" id="Page_74">[Pg 74]</span></p> - -<p>The fingers of the left hand may also be -trained for violin playing, as seen in Fig. 35.</p> - -<div class="figcenter illowp55" id="image074" style="max-width: 40.625em;"> - <img src="images/image074.jpg" alt="" /> - <div class="caption">Fig. 35.</div> -</div> - -<p><i>Further upon the same.</i> After the cylinders, -by far the most effective of all means -for imparting, gymnastically, strength and flexibility -to the fingers, together with evenness -of vigour, individuality, and independence, is, -daily, in the room, or while walking, to take -the above-named staff, or, indeed, a smooth -round stick of 18 inches long, and half to three -quarters of an inch thick, or an ordinary walking-stick, -and to perform on it as follows—With<span class="pagenum" id="Page_75">[Pg 75]</span> -the four fingers of one or both hands -firmly pressed and stretched upon it, raise one -finger as high as possible, and, as above stated, -let it fall down upon it vigorously, like a hammer, -while the other fingers remain firmly -pressed on the stick, 20 to 30 times in succession, -then in couplets with the 5th and 4th -fingers, then with the 4th and 3rd, then with -the 3rd and 2nd, 20 times each, the two fingers, -in all cases, as stated, lifted as high as -possible, and the others remaining, <i>stretched -at even distances</i>, firm upon the staff; finally, -with the four fingers of each hand, 12 times -ascending, and 12 times descending, but always -<span class="allsmcap">SLOWLY</span>, energetically, with firm pressure, -“and in time.” You may <i>occasionally</i> practise -a little faster, but it must be the exception. -Slow moving, pressing, and stretching should -from the chief gymnastic rule.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a></p> - -<p><span class="pagenum" id="Page_76">[Pg 76]</span></p> - -<p>In a similar manner you may practise, -<i>slowly and with energy</i>, with one or with both -hands, all sorts of difficult, muscular movements -and passages upon the staff, for example:—</p> - -<p><i>First series.</i> In couplets 20 to 30 <i>times each -in succession</i>, with the 2nd and 4th fingers, -alternating, afterwards, with the 4th and 2nd; -then with the 3rd and 5th fingers, alternating -with the 5th and 3rd; in each case the two -fingers stretched wide apart, and the other -fingers pressed upon the staff.</p> - -<p><i>Second series.</i> In couplets 20 to 30 <i>times -each in succession</i>, with the 2nd and 3rd fingers, -first close together, then wide apart, afterwards -alternating in the same way, with the 3rd and -2nd. With the 3rd and 4th fingers first close -together, then wide apart, afterwards alternating, -in the same way, with the 4th and 3rd. -With the 4th and 5th fingers, first close together, -then wide apart, afterwards alternating -in the same way, with the 5th and 4th. In -each case slowly, the two fingers lifted as high -as is convenient, 20 to 30 times in succession,<span class="pagenum" id="Page_77">[Pg 77]</span> -and the other fingers remaining firmly fixed -upon the staff. Lastly, all the four fingers -together, in each of these varied and different -directions.</p> - -<p>The number of times of each movement, -and the duration of time, also whether all -should be made at the same hour, or otherwise, -is left to the discretion of the teacher and -pupil. I would recommend, at first, the selection -of three or four modes or exercises for -persistent practice, to last over a given period -of time, then to change to others.</p> - -<p>But the regular exercise of the whole or part -of them, <i>daily</i>, will, in a comparatively short -time, most surely impart immense strength to, -and render flexible, the muscles and joints of -the fingers; will enable you, if the directions -be duly followed, to effect for yourself perfectly -equal and even fingering, and render the fingers -entirely <i>independent one of another</i>.</p> - -<p>But let all be done with due moderation, and -not driven to excess.</p> - -<p>This gymnastic staff, or walking-stick exercise, -however simple it may appear, should, on<span class="pagenum" id="Page_78">[Pg 78]</span> -no account, any single day be omitted. It -produces a most surprising effect if carefully -and vigorously made; an effect which will be -the more remarkable in proportion as the -fingers are pressed and stretched far away from -one another. By this means all the various -muscles, and even the tendons, joints, and -ligaments are put into motion, and both fingers -and nerves are rendered strong and firm. Besides, -no time need be lost; as in performing -these exercises you may converse or engage -in other occupations.<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a></p> - -<p>In this manner, also, <i>the 4th finger may</i> -have a special training, and become equally -strong with the others. This finger is, on physiological -grounds, the weakest of all, and after -a number of vain attempts at remedying its -well-known weakness, some physiologists of -note in Germany, have gone so far as to suggest -the idea whether it would not be well to cut the<span class="pagenum" id="Page_79">[Pg 79]</span> -ligament joining the two fingers, in order to -set the 4th finger free.</p> - -<p>But it is unnecessary to have recourse to -such rude and unnatural measures; the natural -weakness of the 4th finger may be effectually -remedied, and may be entirely overcome, by -the above exercises. The same exercises, if -<i>performed strictly according to the directions</i> given -above, are extremely useful for <i>all</i> the fingers, -which they will render both strong and -flexible.</p> - -<p>These exercises may be <i>partially</i> performed -on musical instruments; but they are <i>far more</i> -effective if made gymnastically, as directed, -because the fingers, in having a resting point, -or lever, and having something firm to grasp, -are enabled to perform them <i>gymnastically</i>.</p> - -<p><span class="pagenum" id="Page_80">[Pg 80]</span></p> - - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> The late Mr Clementi was celebrated for the perfect evenness -and beauty of his touch in playing rapid passages on the -piano. The means by which he attained this execution he was -unwilling to disclose. It is now known that he effected it by -playing his scales <span class="allsmcap">VERY SLOWLY</span>, and with <i>great pressure</i> of each -individual finger (see page 96).</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> The celebrated violinist, Bernard Molique, told me lately, -in London, that when he was called on to play difficult solo -pieces in public, he very often played them previously over <i>upon -a stick</i>.</p> - -</div> -</div> - - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<h2 class="nobreak" id="CHAPTER_XIV">CHAPTER XIV.<br /> - -<small>MECHANICAL FINGER-EXERCISES (CONTINUED).</small></h2></div> - - -<p>Moreover, beautiful works of art, like -pianofortes, violins, and other musical instruments, -ought not to be used as gymnastic -implements. They are destined for <i>play</i>, not -for <i>gymnastic</i> appliances. The fingers and -joints ought, therefore, first to be gymnastically -exercised; <i>then</i> play upon the instrument.</p> - -<p>The head and the fingers ought to go together; -but how is this possible if the latter -remain behind? The mind strives forward, -the fingers keep it back. Why should this torture -be inflicted? No; let the fingers first be -properly trained; then head and fingers will go -harmoniously together.</p> - -<p><span class="pagenum" id="Page_81">[Pg 81]</span></p> - -<p>Another great advantage attending the -above exercises is, that so long as they last, -the organs of hearing are spared. Many -persons, who zealously and with endurance -perform finger-exercises on musical instruments, -injure their health, through the irritation -of the auditory nerves, to such a degree, -as either to be prevented, on medical authority, -from continuing to practise, or otherwise to be -subjected to serious consequences; whereas, -if the exercises are preceded by the gymnastic -movements given above, the hearing organs -of the pupil will be greatly spared, and not -injured in any way.</p> - -<p>The greatest technical art consists in controlling -alike the fingers, the joints, and the -nerves. Now, if the muscles and tendons are -exercised and strengthened by proper physical -work, the <i>nerves</i> will be invigorated at the -same time. This is a well-known fact, and for -those engaged in musical pursuits, an advantage -which it is impossible to overrate. The -fingers then will not be fatigued as easily as<span class="pagenum" id="Page_82">[Pg 82]</span> -before, and you learn at the same time by -habit, to acquire complete control over the -joints, the muscles, and nerves.</p> - -<p>Nor ought another advantage to be overlooked; -viz., that in regard to artists and -persons who play well, when these travel, or -from any other cause are prevented from playing -for some time on a musical instrument, -they will be enabled, in the manner described -above, to exercise efficiently for a short time -daily their fingers and joints. Thus the fingers -and joints will not get stiff, and you will -always remain their master.</p> - -<p>However, to attain this end, the exercises -on the stick ought not be performed carelessly, -but <i>gymnastically</i>, and <span class="allsmcap">STRICTLY</span> <i>according to -the directions given above</i>.</p> - -<p>The same exercises are very useful for persons -playing the violin, by promoting the -proper bending of the <i>forefinger</i> of the left -hand.</p> - -<p>Generally speaking, the whole of the above -exercises are equally fit for all persons playing<span class="pagenum" id="Page_83">[Pg 83]</span> -<span style="margin-left: 0.5em;">the piano, the organ, the violin, the violoncello,</span><br /> -and other instruments; and they will find, -after having accustomed themselves to perform -them vigorously and gymnastically for a short -time daily, that they then come to the instrument -with a strength and individuality of -finger which will exceed their utmost expectations.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_84">[Pg 84]</span></p> - -<h2 class="nobreak" id="CHAPTER_XV">CHAPTER XV.<br /> - -<small>BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY -THOSE OF THE THUMB AND THE LITTLE FINGER.</small></h2></div> - - -<p>Take a board, about 22 inches long, four -to five inches wide, and three quarters of an -inch thick, and mark out on it four or five -grooves, about half an inch deep. To fix this -board on the table, have a little ledge glued -on to one of its sides, as in Fig. 36 and 37.</p> - -<p>Place the outstretched hand on the board; -stretch the thumb and the little finger as far as -possible away from one another, into one of -the grooves, place the other fingers into one -of the other grooves, and set them in motion, -while holding the thumb and little finger -firmly in their places.</p> - -<p><span class="pagenum" id="Page_85">[Pg 85]</span></p> - -<div class="figcenter illowp100" id="image085" style="max-width: 75em;"> - <img src="images/image085.jpg" alt="" /> - <div class="caption">Fig. 36.<span class="gap10l" >Fig. 37.</span></div> -</div> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_86">[Pg 86]</span></p> - -<h2 class="nobreak" id="CHAPTER_XVI">CHAPTER XVI.<br /> - -<small>ON STRINGED INSTRUMENTS IN PARTICULAR. THE -WRIST OF THE RIGHT HAND.</small></h2></div> - - -<p>The following mechanical gymnastic exercises -refer to the <i>wrist of the right hand</i>, and -are intended for players on stringed instruments. -Their chief purpose is to render the -wrist of the right hand and the forearm -strong and flexible. This all students find -very difficult; it will soon be evident for what -reason.</p> - -<p>It is a fact acknowledged by the most celebrated -musicians, that the principal bowing -difficulties in playing the violin arise from the -wrist. This is chiefly owing to the circumstance -that, in playing the violin, the movement -<i>sideways</i> of the wrist is a peculiar one, -being, in fact, totally different from any other<span class="pagenum" id="Page_87">[Pg 87]</span> -movements taking place in the ordinary occupations -of life. If, therefore, it be desired to -diminish the painful work, as customary at -present, it is indispensable to <i>prepare</i> the -wrist and arm by exercises like those we are -about to describe.</p> - -<p>Take three times daily, and particularly -early in the morning, a stick or cane exceeding -the length of a violin bow by 8-10 inches, -holding it in your right hand the same as a -bow; lay it on the left hand,—which is to be -raised to the same height as if playing the -violin or violoncello,—and move it <i>vigorously</i> -up and down as follows:</p> - -<p>1. The entire length, 30 times;</p> - -<p>2. The middle length; with the forearm -and wrist only, without moving the upper arm, -30-40 times;</p> - -<p>3. At the <i>nutt</i>; with the wrist alone,—and -especially up-stroke,—with energy; without in -the least moving the arm, 30-40 times;</p> - -<p>4. At the extreme <i>head</i>-end; with the -wrist alone, and with pressure; without in the -least moving the arm, 30-40 times.</p> - -<p><span class="pagenum" id="Page_88">[Pg 88]</span></p> - -<p>Move the cane alternately up and down, -pressing it with the thumb and forefinger, and -look at the direction of the wrist and the stick -or cane. With this gymnastic cane you may -exercise gymnastically, at pleasure, up and -down strokes, triplets, and all sorts of bow-movements. -The effect you will find surprising.</p> - -<p>These exercises are particularly useful for -the student. As a matter of course, they can -also be <i>partially</i> made with the bow, but <i>not -with the same effect</i>.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_89">[Pg 89]</span></p> - -<h2 class="nobreak" id="CHAPTER_XVII_CONTINUED">CHAPTER XVII. (<span class="allsmcap">CONTINUED</span>).</h2> -</div> - - -<p>There is another very effective gymnastic -exercise for strengthening and rendering -flexible the wrist of the right hand. A movement -resembling it has already been described -above, but to prevent any misconception, I -think it well to give explicit directions respecting -it here.</p> - -<p>Take hold with your right hand of the extreme -end of a long and rather heavy <i>Alpenstock</i>, -and while continually keeping the hand -in the same place, move it upon the upheld left -hand vigorously up and down:</p> - -<p>1. With the whole arm, 30 times;</p> - -<p>2. The middle length, 25 times;</p> - -<p>3. As near as possible to the lower end, -with the wrist alone, without in any way moving -the arm, 30 times;</p> - -<p><span class="pagenum" id="Page_90">[Pg 90]</span></p> - -<p>4. As near as possible to the upper end, -with the wrist alone, and especially up-stroke, -without in any way moving the arm, 30 times.</p> - -<p>This exercise, on anatomical grounds, produces -a considerable effect on the muscles and -sinews of the wrist and the forearm, in imparting -to them the wished-for strength and -flexibility.</p> - -<p>Besides, it is a well-known fact that, having -handled a heavy object, it is more easy skilfully -to handle a lighter one.</p> - -<p>If it should be objected that the last-mentioned -gymnastic exercises, being of rather -a rough kind, might spoil the elegant stroke, -my answer is, that those so-called rough exercises -only last a very short time daily, and -are undertaken for the special purpose of -rendering the arm and wrist strong, easy, even, -and flexible. Indeed, if these right-hand -exercises are made <i>carefully</i> and <i>according to -the directions given</i>, a short time every day, -they will strengthen the wrist of the right -hand and render it pliant and flexible to such -a degree, as to enable persons, in a comparatively<span class="pagenum" id="Page_91">[Pg 91]</span> -short time, to play with the wrist almost -as vigorously as with the arm.</p> - -<p>There is, moreover, another advantage -attending these exercises, viz., that, if continued -for some weeks only, and for a few -minutes daily, they will soon give the proper -position to the student’s arm, which, consequently, -will not be required to be tied to the -body, as was often done in former times.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_92">[Pg 92]</span></p> - -<h2 class="nobreak" id="CHAPTER_XVIII">CHAPTER XVIII.<br /> - -<small>CONTINUATION. STACCATO.</small></h2></div> - - -<p>A famous German chamber violinist once -remarked to me, “I find that staccato playing -is the best exercise for bowing, but I -can’t say why.” The reason, however, lies -in the fact that, by frequently playing with -the end of the bow, or with the staccato-stroke, -the muscles of the wrist are put in -motion, thus undergoing a <i>gymnastic</i> training -by which strength and flexibility are acquired.</p> - -<p>It is impossible to perform the staccato-stroke -well, unless the muscles of the wrist -have become strong and agile; and the reason -why the student finds this stroke in most cases -so difficult is, that the wrist has not been -specially trained and prepared, in consequence -of which it remains weak and stiff.</p> - -<p><span class="pagenum" id="Page_93">[Pg 93]</span></p> - -<p>It ought to be remembered that in almost -all kinds of handiwork in daily life, the <i>whole</i> -arm is active and in motion, and <i>very rarely</i> -the <i>wrist alone</i>. With musical instruments, -on the contrary, and particularly in playing -the violin, it is necessary <i>always</i> to use the -wrist, and it is impossible to play well unless -the wrist has been rendered strong and elastic. -It is, therefore, absolutely indispensable that -proper gymnastic exercises should be made -with the wrist, in order to <i>prepare it</i>. The -wrist, indeed, ought to be <i>accustomed</i>, in other -words, <i>to move of itself</i>, and the student ought, -as often as possible, to perform all kinds of -movements calculated to impart to it pliancy -and strength. It will then soon become free -and easy, and the student will, in course of -time, acquire the strongest, most elegant, and -artistic stroke.</p> - -<p>No single one of these practical gymnastic -exercises ought to be despised on account of -its simplicity. Only try them, and they will -be found very effective. All sensible artists -and teachers will do homage to every improvement,<span class="pagenum" id="Page_94">[Pg 94]</span> -and consider it their duty to welcome -any assistance calculated to diminish and render -lighter the arduous toil, and shorten the -valuable time required for becoming a proficient -in music.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_95">[Pg 95]</span></p> - -<h2 class="nobreak" id="CHAPTER_XIX">CHAPTER XIX.<br /> - -<small>CONCLUDING REMARKS.</small></h2></div> - - -<p>I will only add in conclusion, that it would -be well not to continue too long with the same -gymnastic exercise, but to allow the muscles -and joints some change, which will be found -both agreeable and advantageous. If, therefore, -the student be tired of one exercise, he -should begin another. Besides, if the fingers -are fatigued and hot by playing, and the -nerves irritated, an exercise of some of the -different free or mechanical gymnastic appliances -will refresh the muscles, by imparting -to them a new and an easier movement. And -be it remembered, “these exercises are not -irksome, but recreative.”</p> - -<p>It may also be recommended in such cases,<span class="pagenum" id="Page_96">[Pg 96]</span> -to dip the points of the fingers for half a -minute into half a glassful of cold water, and -let them get dry of themselves, thus cooling -by evaporation; or still better, wash the hands -with soap and water.</p> - -<p>To sum up: No student ought to begin to -learn or to play the piano, violin, or other -musical instrument, or even to engage in any -work or occupation requiring a strong and -flexible hand, before having set the joints of -his fingers and hands in order, by means of -preparatory gymnastic exercises; and he ought -to continue the same from day to day.</p> - -<p>Let it ever be borne in mind that much -rapid playing affects injuriously the muscles -and nerves; while, on the other hand, <i>slow -exercises and studies</i> invigorate them.</p> - -<p>To borrow an illustration from the animal -world; take the race-horse, the fleetest animal -which we use in this country, whose -great task requires that his muscle should be -brought into the highest condition of strength -and flexibility. Do you suppose that, in training -and preparing him for the race,—a<span class="pagenum" id="Page_97">[Pg 97]</span> -process often extending over a considerable -period,—that he is, in the course of it, much -galloped? By no means! Galloping forms -the exception, and, during this long interval, -walking, trotting, and cantering form his -chief training paces; namely, four-fifths or -seven-eighths of the time; galloping only -one-fifth or one-eighth part! His skilful -trainer knows that much rapid exertion, such -as galloping long continued, weakens and wears -out his muscle. So, also, in the hunting-field -and on the road, it is “the pace that -kills.” Even so with the player upon a musical -instrument; <i>long continued</i>, rapid movements -wear out the muscle and shake the -nerves, while slow exercises, however vigorously -executed, invigorate and strengthen both -(see p. 75, note).</p> - -<p>The exercises for stringed instruments will -be most satisfactorily performed before a looking-glass, -and I may here add that a little -work by the author, entitled “Gymnastic -Exercises for the Violin and Violoncello,” -having for its special object the exercise of the<span class="pagenum" id="Page_98">[Pg 98]</span> -wrist of the right hand on the instrument, will -be published in a short time.</p> - -<hr class="tb" /> - -<p>And here I avail myself of this opportunity -to raise a question for consideration regarding -that part of the violin-bow which the right -thumb presses. Let me ask, <i>first</i>, why should -this little sharp projection be permitted to appear -on every bow, to the prejudice of the -placing firmly the thumb there, instead of being -<i>rounded off</i>? and <i>secondly</i>, why should there -not be placed, close to this point, especially for -students, a small piece of round gutta percha—a -gutta percha button—as a <i>stay</i> to the thumb? -Great facility would thus be afforded for holding -firmly the bow. Any one may put a piece -of gutta percha in the candle, and, when -softened, stick it fast on the place indicated.</p> - -<p>Finally, I repeat that, in performing any of -these gymnastic exercises, the principal condition -to be adhered to is, that they should -always be made in the morning, also immediately -before playing; and that while great -vigour is imparted to them by following out<span class="pagenum" id="Page_99">[Pg 99]</span> -strictly the directions given, any over-exertion -should be avoided. As to the claims of -the author himself, they are limited to an -earnest desire, that his “Gymnastics of the -Fingers and Wrist,” founded as they are on -anatomical and physiological principles, may -find favour with the Public, and be instrumental -in promoting the best interests of -Art.</p> - - -<p class="center">THE END.</p> - - -<p class="center">JOHN CHILDS AND SON, PRINTERS.</p> -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> -<p><span class="pagenum" id="Page_i">[Pg i]</span></p> - -<h2 class="nobreak" id="TESTIMONIALS">TESTIMONIALS.</h2> -</div> - - -<p><i>From</i> <span class="smcap">Prescott Hewett</span>, F.R.C.S., <i>Surgeon to St -George’s Hospital, late Professor of Anatomy to R.C.S.</i></p> - -<p> -<i>Aug. 28th, 1865.</i><br /> -</p> - -<p>“Having carefully examined the gymnastic exercises -invented by Mr Edwin Ward Jackson for the due -working of the fingers and hand, I have great pleasure -in stating that I believe that such exercises will be of -the greatest use, not only to musicians, but to every -one who wishes to possess a perfectly free use of his -hands. The power and the freedom obtainable by -exercises such as these have been little thought of; but -from what I have seen, I feel confident that Mr Jackson’s -exercises, if rightly used, are destined to make -the hand much more perfect for all its purposes than it -really is.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Luther Holden</span>, F.R.C.S., <i>Senior Lecturer on -Anatomy at Bartholomew’s Hospital</i>.</p> - -<p class="pdate"> -<i>Aug. 28th, 1865.</i></p> -<p>Since our last interview I have often thought and -talked about the practical effect of your ‘Gymnastic<span class="pagenum" id="Page_ii">[Pg ii]</span> -exercises for the Fingers.’ On anatomical and physiological -grounds, it is quite certain that these exercises -are admirably calculated to liberate the ligaments of the -fingers, and to give a freer play and increased vigour to -those muscles upon which many of the varied and more -independent movements of the fingers depend.</p> - -<p>“I have no doubt whatever that such exercises will -be of the greatest service in educating the fingers of -musicians, and thereby save them a great deal of time -and trouble.”</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>From</i> <span class="smcap">Richard Quain</span>, F.R.S., <i>Professor of Chemical -Surgery in University College; Surgeon Extraordinary -to the Queen</i>.</p> -</div> - -<p> -<i>August 2nd, 1865.</i></p> - -<p>I write to you upon the important facts you were -good enough to communicate to me to-day, and to explain -how they may be accounted for scientifically. Your -proposal to exercise the hand and fingers, and your -plan of systematically carrying out the proposal so as to -be beneficial to musicians, are <i>both new</i> to me. Judging -on principle, and from a knowledge of what occurs -in other parts of the body, I have no doubt that the -system must be useful, for it will give increased mobility -to the fingers and increased development and power to -the small muscles—Lumbricales (the <i>musculi fidicinales</i> -of Cowper), and metacarpal interosseous, as well as indeed -to the general flexors and extensors of the hand.<span class="pagenum" id="Page_iii">[Pg iii]</span> -In short, the exercises you propose will be to the hand -and fingers what the ordinary gymnastic exercises are -to the rest of the limbs. The result will be useful wherever -the free play and vigour of the fingers are needed; -would therefore, I anticipate, be especially advantageous -to musicians, and I am inclined to add to painters and -to writers also.” ...</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Erasmus Wilson</span>, F.R.S.</p> - -<p>“On carefully thinking over your demonstration of -gymnastic exercises as applied to the hand, I can see -in it only good; it is ingenious, practical, and physiological, -and eminently adapted for the purpose to which -you propose to adopt it; namely, the manipulation of -the strings and keys of musical instruments. I am glad -to hear that you intend to give your labours to the -public very shortly.... I see no possible inconvenience, -much less danger, in the process.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Dr Virchow</span>, <i>Professor of pathological Anatomy, -Berlin</i>.</p> - -<p> -<i>June 3rd.</i><br /> -</p> - -<p><span class="smcap">Translation.</span></p> - -<p>“The exposition of your proposed Gymnastics for -the regular exercise of those portions of the body which -are used most partially, namely, the fingers, deserves, -assuredly, a great and practical recognition. They are -addressed, according to my opinion, to a real want or<span class="pagenum" id="Page_iv">[Pg iv]</span> -hiatus. Not only will they very naturally serve as a -special preparation for musical objects, but also for a -like participation of the muscle-groups of the forearm -and the hand, which, in all the usual labours of daily life, -are only very partially brought into action. In the case -of men who only write, and women who sew, or do other -fine work, the great disadvantages arising from the -special pressure in individual groups of muscles will be -altogether avoided; and I regard it as extremely probable -that your gymnastics will diminish or entirely -remove many disorders, such as writing-cramp, contortions, -&c.”</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>Official extract from the books of the</i> <span class="smcap">Society of Physicians -at Berlin</span> <i>of the Meeting held by them</i>, -<i>June 6th</i>.</p> - -<p><i>President</i>—<span class="smcap">Dr Berend</span>, Member of the Royal Privy -Council, and Director of the Gymnastic-orthopedic -Institution, Berlin.</p> - -<p><i>Secretary</i>—<span class="smcap">Dr Gumbinner</span>.</p> -</div> -<p>“Mr Jackson from England delivered a lecture -upon gymnastics of the fingers and wrist. The fatigue -which immediately attended the playing on the violin -late in life, incident even to a person strong and athletic -in all other respects, led him to the discovery, after -lengthened investigations, <i>first</i>, that the fingers are the -least exercised of all the active muscles of the human -body; <i>secondly</i>, that they are thereby, on physiological<span class="pagenum" id="Page_vt">[Pg v]</span> -grounds, also the weakest; and <i>thirdly</i>, as he afterwards -on minute investigation found out, that the finger-muscles -are almost the only active muscles in the frame -to which a properly constituted system of gymnastics had -never been applied.</p> -<p>“He discovered that the cause of this fatigue lies in -the want of finger-training; and the lecturer explained, -and adduced proof, that the muscles, hitherto constrained -in their movements by tight transverse ligaments, are -instantaneously set free by gymnastic stretching applications -to those ligaments. The society expressed itself -entirely in accord with the theory as well as the -practice which the lecturer adduced; they desired to -add that both the one and the other are entirely new to -them, and to express a belief that the same will be -introduced into every school in Germany as soon as -they shall be made known.</p> - -<p>“In expressing their best thanks to Mr Jackson for -his most interesting discourse, the society desire to -record the fact, which the lecturer in soliciting their -indulgence stated, that he had commenced the study -of the German language for the first time at a late -period of life, namely, at the age of 52 years, exactly -six years ago; nevertheless the lecturer seems to have -mastered its great difficulties, and has delivered gratuitously -this and many other lectures extempore in excellent -German, an achievement which the society -believes to be without precedent.”</p> - -<p><span class="pagenum" id="Page_vit">[Pg vi]</span></p> - -<p>Expressions of marked approval have also been -received from <span class="smcap">W. Fergusson</span>, F.R.S., <i>Surgeon Extraordinary -to the Queen</i>, <span class="smcap">Professor R. Owen</span>, F.R.S., -D.C.L., <i>British Museum</i>, <span class="smcap">Dr Joseph Hirth</span>, <i>Professor -of Anatomy, Vienna</i>, and other distinguished -persons.</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>From</i> <span class="smcap">John Hullah</span>, <i>Professor of Music in King’s -College and in Queen’s College; Organist of Charterhouse, -&c., &c.</i></p> -</div> - -<p> -<i>July 27th, 1865.</i></p> - -<p>“Mr Edwin W. Jackson has called attention to an -anatomical fact which is likely to prove of great importance -to students of instrumental music; and the apparatus -and course of exercises by which he proposes to -turn the knowledge of this fact to account seem well -calculated for the attainment of the object he has in -view—that of increasing the strength, pliability, and -expansiveness of the hand.”</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>From</i> <span class="smcap">E. F. Rimbault</span>, LL.D., F.S.A., <i>Member of -the Royal Academy of Music in Stockholm; Musical -Examiner in the Royal College of Preceptors, -London, &c., &c.</i></p> -</div> - -<p>“Mr E. Ward Jackson’s discovery is of the <i>highest -importance</i> to all performers on musical instruments<span class="pagenum" id="Page_viit">[Pg vii]</span> -requiring the use of the fingers. Several attempts have -been made, at different times, to construct apparatus -which would give strength and elasticity to these -important members of the hand; but they have all -signally failed. Mr Jackson has been the <i>first</i> to -consider the subject <i>philosophically</i> and <i>anatomically</i>. -His discovery will form an era in the progress of the -manipulation of the art.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Jules Benedict</span>, <i>Pianist</i>.</p> - -<p> -<i>July 22nd, 1865.</i><br /> -</p> - -<p>“I believe that Mr Jackson’s simple but ingenious -contrivance will be highly beneficial for the musical -student, and contribute to the clearness of touch and -independence of the fingers. Experiments on a large -scale, and in schools where music is taught, would still -more contribute to acquaint the public with his clever -and useful invention.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Professor Wyld</span>, <i>Mus. Doc., Cantab.; Professor -of Music in Gresham College</i>.</p> - -<p> -<i>July 23rd, 1865.</i><br /> -</p> - -<p>“Many thanks for sending me your pamphlet, -which I have read very carefully. It has interested me -very much, and I have no doubt of the practical excellence -of your discovery.”</p> - -<p><span class="pagenum" id="Page_viiit">[Pg viii]</span></p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>From</i> <span class="smcap">Prosper Sainton</span>, <i>Leader of the Royal Italian -Opera; of the Sacred Harmonic Society; of the -Musical Society of London; and of the New Philharmonic -Society</i>.</p> -</div> - -<p> -<i>Aug. 5th, 1865.</i><br /> -</p> - -<p>“I have great pleasure in adding my testimony to -that given to you by so many artists. I congratulate -you upon your invention, which I am certain will be of -great utility to pupils of the violin, in giving to their -fingers strength and elasticity.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Walter Macfarren</span>, <i>Professor of Pianoforte -in the Royal Academy of Music</i>.</p> - -<p> -<i>July 28th, 1865.</i><br /> -</p> - -<p>“Mr. Edwin W. Jackson has done me the favour to -explain to me his new system of gymnastics for the -fingers, and I have no hesitation in stating that in my -opinion it is calculated to obtain, by the simplest means, -the independence of wrist and flexibility of finger -essential to the pianist, or indeed to the performer on -any keyed instrument. I consider that the introduction -of this system would be of great value to both professor -and pupil in schools and conservatories where music is -studied.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Jos. Joachim</span>, <i>Violinist</i>.</p> - -<p>“I must, on reflection, admit that the gymnastics -for the fingers which you suggest must, by proper<span class="pagenum" id="Page_ixt">[Pg ix]</span> -application of the same, contribute greatly to strengthen -and render pliant the finger-joints.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Professor Moscheles</span>.</p> - -<p>“Your very ingenious discovery that the necessary -strength and flexibility of the fingers for pianoforte and -violin-playing can be effected by means of cylinders -placed between the fingers and other appliances, must -prove to be of great use.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Dr H. H. Pierson</span>, <i>Professor of Music, Edinburgh</i>. -Many thanks for your staff, which is an excellent -idea, and a very useful invention, as well as the cylinders. -The advice contained in your ‘Finger und -Handgelenk Gymnastik,’ together with the set of regulations -there laid down, is of eminent value, if properly -attended to, as a means of preparing the fingers and -wrists for playing the piano, violin, &c., and for rendering -them strong and flexible, the two indispensable -requisites. I particularly admire the extreme simplicity -of all your inventions, which really remind one -of the ‘Egg of Columbus,’ and I should not be surprised -if your ideas (so disinterestedly offered to the -public) were to introduce a new era in the study of the -pianoforte and stringed instruments. They must also -be of signal service to organists, to whom I should -specially recommend your apparatus.”</p> - -<p><span class="pagenum" id="Page_x">[Pg x]</span></p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Herrn Lauterbach</span>, <i>Violinist</i>.</p> - -<p>“Being always very much in favour of gymnastics -of all kinds, I hasten to inform you that your discovery -relating thereto has interested me very much, and I am -satisfied that great good will arise from it.”</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>From</i> <span class="smcap">Henry Blagrove</span>, <i>Professor of the Royal Academy -of Music; Leader of the Philharmonic Society; of -the Musical Society of London., &c., &c.</i></p> -</div> - -<p> -<i>July 22nd, 1865.</i><br /> -</p> - -<p>“On perusal of your MS. relative to the development -of the muscles of the hands, &c., as applied to -musicians, I have great pleasure in offering you my -testimony to its being a valuable adjunct to musical -tuition where mechanical action is required, such as for -the piano, or violin and violoncello. I think it shortens -the usual routine of practising to gain strength, and -will give at once freedom and force to the hand, -fingers, arm, &c.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">J. T. Carrodus</span>, <i>Leader of Her Majesty’s -Theatre</i>.</p> - -<p> -<i>July 23rd, 1865.</i><br /> -</p> - -<p>“I am convinced that Mr Jackson’s invention for -the development of the muscles of the fingers and hand -will be of great value to musical students.”</p> - -<p><span class="pagenum" id="Page_xit">[Pg xit]</span></p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">E. Aguilar</span>, <i>Pianist</i>.</p> - -<p> -<i>July 22nd, 1865.</i><br /> -</p> - -<p>“I consider Mr Ward Jackson’s system for the -fingers remarkable for its simplicity, ingenuity, and -efficacy. I believe that its universal adoption must -materially benefit and assist all who cultivate instrumental -music.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">W. Geo. Cusins</span>, <i>Pianist, Organist to Her -Majesty</i>.</p> - -<p> -<i>July 27th, 1865.</i><br /> -</p> - -<p>“I beg you will permit me to say how much interested -I was this morning with the highly ingenious -method of developing the hand you were kind enough -to explain to me. I believe your discovery to be of -great importance to musicians who use their fingers. -For myself I intend trying your system, and shall likewise -make my pupils use it.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Lindsay Sloper</span>, <i>Pianist</i>.</p> - -<p> -<i>July 31st, 1865.</i><br /> -</p> - -<p>“Allow me to express to you the interest I felt in -your system of finger-gymnastics as shown to me by -you last week. Your inventions seem to me very likely -to produce the results you have sought, and I should -be very glad to see their utility tested in our music-schools.”</p> - -<p><span class="pagenum" id="Page_xii">[Pg xii]</span></p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">B. Molique</span>, <i>Pianist</i>.</p> - -<p> -<i>July 22nd, 1865.</i><br /> -</p> - -<p>“Mr Jackson’s gymnastic invention for the fingers -and wrists will be of great benefit to musical students.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">J. Balsir Chatterton</span>, <i>Harpist to Her -Majesty the Queen</i>.</p> - -<p> -<i>July 31st, 1865.</i><br /> -</p> - -<p>“I have taken time to think over your ingenious -invention, and am of opinion that it will be of incalculable -service to harp players. I can only hope that -it will become extensively known, and shall be glad to -hear of the publication of your forthcoming work.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">John Thomas</span>, <i>Harpist, Professor of the Royal -Academy of Music; Pencerdd Gwalia</i>.</p> - -<p> -<i>July 25th, 1865.</i><br /> -</p> - -<p>“I have much pleasure in bearing testimony to the -importance of Mr Jackson’s simple but clever invention -for rendering the fingers independent of each other, and -in preparing them for execution upon any musical instrument, -thus greatly facilitating the attainment -of execution; and I sincerely hope that his invention -will be made public, in order that the world may derive -the full benefit of it.”</p> - -<p><span class="pagenum" id="Page_xiii">[Pg xiii]</span></p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Jacques Blumenthal</span>, <i>Pianist</i>.</p> - -<p> -<i>July 25th, 1865.</i><br /> -</p> - -<p>“I have great pleasure in stating that I consider -Mr Edwin W. Jackson’s new system of gymnastics for -the fingers a very ingenious invention, and as simple as -I believe it to be useful to the student; and if generally -adopted would prevent, no doubt, many a headache -engendered by the now prevailing system of exercises -for the pianoforte and violin.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Adolf Pollitzer</span>, <i>Violinist, Royal Italian Opera</i>.</p> - -<p> -<i>July 24th, 1865.</i><br /> -</p> - -<p>“Mr Jackson deserves the thanks of every instrumentalist -for his clever invention for strengthening the -fingers; and those who follow his very ingenious system -must find great benefit from it.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">R. Sidney Pratten</span>, <i>Flautist, Royal Italian -Opera</i>.</p> - -<p> -<i>July 7th, 1865.</i><br /> -</p> - -<p>“I feel satisfied that your very ingenious yet simple -invention for the exercise and strengthening of the -fingers to the players of wind instruments will be of the -greatest value, as flexibility and strength can be obtained -even though the instrument may not be at -hand; and I shall have great pleasure in recommending -it to all my pupils, as well as professional brethren,<span class="pagenum" id="Page_xiv">[Pg xiv]</span> -as a thing indispensable for the purpose for which it is -intended.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Henry Lazarus</span>, <i>Clarionetist, Royal Italian -Opera</i>.</p> - -<p> -<i>August 9th, 1865.</i></p> -<p>“I was very pleased indeed this morning to hear -you explain your invention of ‘Gymnastics for the -Fingers.’ It is extremely clever, and I consider it will -be of the greatest service to all performers on wind -instruments, as well as to pianists and performers on -stringed instruments. I conceive it will give great -facility and lessen the labour.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Alfred Nicholson</span>, <i>Oboist, Royal Italian -Opera</i>.</p> - -<p> -<i>July 24th, 1865.</i><br /> -</p> - -<p>“The system of gymnastics for the hand, invented -by Mr Edwin Jackson, is, in my opinion, calculated to -be of great service to musical professors and students, -from the increased strength and flexibility the fingers -must gain by practice under this method.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">H. C. Deacon</span>, <i>Pianist</i>.</p> - -<p> -<i>July 28th, 1865.</i><br /> -</p> - -<p>“I think your system of hand-exercise, as explained -to me the other morning, likely to be a useful adjunct<span class="pagenum" id="Page_xv">[Pg xv]</span> -to the pianoforte, inasmuch as it tends to give increased -extensions to an important part of the hand.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">James Howell</span>, <i>Contrebassist, Royal Italian -Opera</i>.</p> - -<p> -<i>August 25th, 1865.</i><br /> -</p> - -<p>“It is with great pleasure that I testify to the -soundness and excellence of your system of gymnastics -for the hand, as giving flexibility and power to the -fingers. It would prove of great advantage to any -member of the musical profession, if properly carried -out.”</p> - -<hr class="tb" /> - -<div class="blockquot"> - -<p><i>The whole of the Orchestra of the Royal Opera-house -at Stuttgart in Wurtemberg, testified individually as -follows</i>:</p> -</div> - -<p>“That Mr Jackson’s discoveries and his gymnastics -for the fingers and wrist must certainly conduce to a -quick and sure attainment of a solid and a lasting -execution upon the pianoforte, as also upon stringed -and wind instruments, that they are new and eminently -practical, and deserve to be everywhere adopted.”</p> - -<hr class="tb" /> - -<p><i>From</i> <span class="smcap">Edward J. Hopkins</span>, <i>Organist to the Hon. -Societies of the Inner and Middle Temple</i>.</p> - -<p> -<i>Sept. 13th, 1865.</i></p> -<p>“Mr Jackson has been so good as to explain to me<span class="pagenum" id="Page_xvi">[Pg xvi]</span> -—and to exhibit, his apparatus and course of exercises for -developing and strengthening the muscles and powers -of the hand, which I firmly believe are calculated to be -of very considerable importance to all practitioners upon -musical instruments.”</p> - - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK JACKSON'S GYMNASTICS FOR THE FINGERS AND WRIST ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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