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| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 05:15:33 -0800 |
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diff --git a/old/67375-h/67375-h.htm b/old/67375-h/67375-h.htm deleted file mode 100644 index ce6442e..0000000 --- a/old/67375-h/67375-h.htm +++ /dev/null @@ -1,3977 +0,0 @@ -<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" - "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> -<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> - <head> - <meta http-equiv="Content-Type" content="text/html;charset=utf-8" /> - <meta http-equiv="Content-Style-Type" content="text/css" /> - <title> - The Project Gutenberg eBook of Jackson’s Gymnastics for the Fingers and Wristt, by AUTHOR. - </title> - <link rel="coverpage" href="images/cover.jpg" /> - <style type="text/css"> - -body { - margin-left: 10%; - margin-right: 10%; -} - -h1 -{ - margin-top: 2em; margin-bottom: 2em; - text-align: center; - font-size: x-large; - font-weight: normal; - line-height: 1.6; -} - - h2,h3{ - text-align: center; - clear: both; - } - h3 {font-size: 1em;} - - -div.chapter {page-break-before: always;} -h2.nobreak {page-break-before: avoid;} - -/* Paragraphs */ - -p {text-indent: 1em; - margin-top: .75em; - text-align: justify; - margin-bottom: .75em; - } - -.psig {text-align: right; margin-right: 2em;} -.pdate {margin-left: 2em;} -.hang {text-align: justify; padding-left: 1.75em; text-indent: -1.75em;} - - -.spaced {margin-top: 3em; margin-bottom: 3em;} -.space-above {margin-top: 6em;} - - - -hr { - width: 33%; - margin-top: 2em; - margin-bottom: 2em; - margin-left: 33.5%; - margin-right: 33.5%; - clear: both; -} - - -hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} -hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} -hr.small {width: 25%; margin-left: 37.5%; margin-right: 37.5%;} -@media print { hr.chap {display: none; visibility: hidden;} } - - -table { - margin-left: auto; - margin-right: auto; - } - -.standard { font-size: .9em; border-collapse: collapse; } -td {padding-left: 5px;} - -.tdl {text-align: left;} -.tdr {text-align: right;} -.tdrb {text-align: right; vertical-align: bottom;} -.tdrt {text-align: right; vertical-align: top; padding-right: 1em;} -.tdh {text-align: justify; padding-left: 1.75em; - text-indent: -1.75em;} - -.pagenum { /* uncomment the next line for invisible page numbers */ - /* visibility: hidden; */ - position: absolute; - left: 92%; - font-size: smaller; - text-align: right; -} /* page numbers */ - -div.hangsection p {text-indent: -3em; margin-left: 3em;} - -.blockquot { - margin-left: 5%; - margin-right: 10%; -} - - -.gap10l {padding-left: 10em;} - -.center {text-align: center;} - -.smcap {font-variant: small-caps;} -.allsmcap { text-transform:lowercase; } - -.small {font-size: small;} - - -/* Images */ - -img {border: none; max-width: 100%} -.caption {font-size: smaller; font-weight: bold;} - -.figcenter { - margin: auto; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} -.figleft { - float: left; - clear: left; - margin-left: 0; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 1em; - padding: 0; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} -/* comment out next line and uncomment the following one for floating figleft on ebookmaker output */ -/*.x-ebookmaker .figleft {float: none; text-align: center; margin-right: 0;}*/ - .x-ebookmaker .figleft {float: left;} - -.figright { - float: right; - clear: right; - margin-left: 1em; - margin-bottom: 1em; - margin-top: 1em; - margin-right: 0; - padding: 0; - text-align: center; - page-break-inside: avoid; - max-width: 100%; -} -/* comment out next line and uncomment the following one for floating figright on ebookmaker output */ -/*.x-ebookmaker .figright {float: none; text-align: center; margin-left: 0;}*/ - .x-ebookmaker .figright {float: right;} - - -/* Footnotes */ - - .footnotes {border: dashed 1px;} - - .footnote { - margin-left: 10%; - 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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