Marc Papillon Éditions

At the end of a chain (shoulder, arm, elbow, forearm, wrist), the hand bears much of the consequences of poor posture. This is why pianists should base their search for greater comfort on respect for anatomical and physiological function. The authors have developed a progressive method of postural education at the piano. Starting from overall posture (contact with the floor, pelvis, spine, head, upper limb), they present, with illustrations, the anatomy and placement of the hand at the piano. Each element of the hand’s biomechanics is linked to pianistic exercises on the score.

Learners learn all the better when the movement is right. But what is a right movement? Let us not talk about posture, which tends to freeze the image of an ideal position. Each musician develops a way of moving that is their own. They develop their own muscular balances, which they feel and which allow them to express themselves ever more freely.

The author, a specialist physiotherapist and trainer, invites guitarists to understand and integrate the anatomical and physiological essentials. These specific musical exercises encourage musicians to develop their sensations at the instrument, while their growing awareness guides and supports them throughout the training. They form the basis of a preparation program away from the instrument before playing, then at the instrument before and after working on repertoire.

This original method gives every guitarist a well-suited tool for setting up their functional goals correctly at the instrument, in pursuit of the finest sound.