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JACKSON’S GYMNASTICS FOR THE FINGERS AND WRIST,
JACKSON’S GYMNASTICS FOR THE FINGERS AND WRIST,
BEING A SYSTEM OF GYMNASTICS, BASED ON ANATOMICAL PRINCIPLES,—FOR DEVELOPING AND STRENGTHENING THE MUSCLES OF THE HAND; FOR MUSICAL, MECHANICAL, AND MEDICAL PURPOSES. With thirty-seven Diagrams. LONDON: N. TRÜBNER & CO., 60, PATERNOSTER ROW. 1865. [ Right of Translation reserved. ] The whole of the Engravings contained in this work were executed for the author by Berndt, in Berlin, July, 1864. The apparatus referred to in this work may be had, price 3s. 6d., of Messrs Metzler & C
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PREFACE.
PREFACE.
The subject of this little work develops, on anatomical and physiological principles, a system of Gymnastics for the Fingers and Wrist, the object of which is—, to lay a solid and scientific foundation for the acquisition of technical skill in the fingers and wrist, as applied to the playing on musical instruments and to finger-work generally. For a detailed account of the circumstances under which this system was discovered, I refer to the Introductory Remarks, wherein I have explained the proc
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INTRODUCTORY REMARKS ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST.
INTRODUCTORY REMARKS ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST.
If any one should desire to know how and in what manner I, as a private individual, came to hit upon these discoveries, I answer simply: Six years ago I took my family, principally consisting of daughters, to Germany, to have them educated there, and especially to obtain for them good instruction in music. I soon found that the method of teaching the pianoforte then in general use was very fatiguing and trying to the nerves; at the same time, as Germany stands at the head of the musical world, t
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CHAPTER V. THE FINGER-JOINTS ARE THE LEAST EXERCISED, AND THE WEAKEST.
CHAPTER V. THE FINGER-JOINTS ARE THE LEAST EXERCISED, AND THE WEAKEST.
To become a skilful musician is no small matter. There is no art which demands more labour, patience, and especially more time , than, for instance, piano or violin playing; and at least half of that time is for years required for the particular purpose of strengthening the muscles of the fingers, and rendering them flexible. And why so many years? Because the muscles, the ligaments, and the tendons of the finger-joints and wrists have not previously been gymnastically exercised and trained. To
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CHAPTER VI. THE PRINCIPAL DIFFICULTY DOES NOT CONSIST IN THE READING OF MUSIC, BUT IN THE WEAKNESS OF THE FINGERS.
CHAPTER VI. THE PRINCIPAL DIFFICULTY DOES NOT CONSIST IN THE READING OF MUSIC, BUT IN THE WEAKNESS OF THE FINGERS.
In the opinion of many, the chief difficulty to be overcome in studying music consists in learning to read it . But this is by no means the case. The reading of music is learned in the same manner as a child learns to read letters. The first difficulties having been mastered, the task is easy; as with a printed book, so with music. Consequently the paramount difficulty is not in the notes , but in the weakness and awkwardness of the fingers and wrists. From this, again, it may be plainly seen ho
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CHAPTER VII. MUSIC IS THE ART WHICH MAKES THE HIGHEST DEMANDS ON THE MUSCLES OF THE FINGERS. MOVING THE FINGERS UP AND DOWN INSUFFICIENT.
CHAPTER VII. MUSIC IS THE ART WHICH MAKES THE HIGHEST DEMANDS ON THE MUSCLES OF THE FINGERS. MOVING THE FINGERS UP AND DOWN INSUFFICIENT.
These exercises for persons engaged in musical pursuits can, least of all, be dispensed with, because music is the art which makes the highest demands on the muscles of the fingers and wrists. Eminent physiologists say, “Gymnastic exercises for the fingers and joints ought to have been commenced 150 years ago; they form the real foundation of practical art.” It is, indeed, incredible that so great an art as piano and violin playing should have arrived at so high a stage of perfection without a p
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CHAPTER VIII. ARTISTS AND TEACHERS OF MUSIC.
CHAPTER VIII. ARTISTS AND TEACHERS OF MUSIC.
If any one should say that he has diligently studied the piano and violin after the method used at present, and in course of time has learned and taught it with the greatest success, without having found it necessary to trouble himself about any other system, my reply is, that music is one of the most beautiful, and with respect to muscular work, the most difficult of arts, and that all the arts and sciences, music not excepted, have made enormous strides in advance during the present century. B
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First movement.
First movement.
Stretch the fingers as much as possible one from the other, let them fall on the large muscle of the thumb (thumb-ball), and press them firmly on it; remain for a moment in this position , and bring the thumb against the forefinger, 40 times up and down. You will find that this exercise, as well as several others, if vigorously continued for three minutes only, is very fatiguing; a clear proof that the muscles of the fingers, although they may be quite fit for ordinary daily occupations, are, ne
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Second movement.
Second movement.
Stretch the fingers as before, but let the finger-ends fall against the middle of the cavity of the hand, instead of against the great muscle of the thumb, and press them firmly. To be repeated 40 times....
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Third movement.
Third movement.
The following exercise (9 and 10) is intended particularly for the small joints of the fingers. It is effective, but difficult. Do not stretch the fingers away from one another, but hold them firmly and close together, as this produces the effect particularly desired. Bend the two first finger-joints of the four fingers closely together; move them vigorously up and down, and press them on firmly , without, however, moving the large joints. Repeat this movement until you are tired, which will not
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Fourth movement.
Fourth movement.
The last free exercise for the finger-joints, which I will recommend here (11 and 12), consists in moving all the fingers and the thumb simultaneously together, that is to say, in stretching them far away from one another, like claws, and making all sorts of eccentric movements in whatever direction you please, and as long as you like or are able, but always vigorously. Although it is not easy to prescribe complete gymnastic exercises for the thumb, the following, if made vigorously, will, never
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First movement.
First movement.
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....
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Second movement.
Second movement.
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....
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Third movement.
Third movement.
Take hold of the thumb of the one hand with the fingers of the other, or with the whole hand, and shake it or bend it to its root, without, however, overdoing either. In short, perform every day some exercise with the thumb, whereby it will be sufficiently brought into exercise....
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First movement.
First movement.
Move the wrist, without moving the arm or elbow , vigorously up and down in a perpendicular direction, from 20 to 40 times, first slowly, then more quickly; finally, as quick as possible. In doing so, let the elbows rest close to the body, so as to bring both hands and wrists into the proper position. As soon as you are tired, leave off....
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Second movement.
Second movement.
Move the hand horizontally or vertically without moving the arm. To understand the practical utility of this exercise (19, 20), it ought to be borne in mind that the entire action of the wrist is effected by two principal joints, one of which, the smaller of the two, lies at the root of the hand, and is called the “joint of the hand,” by means of which it becomes possible to move the hand, independently of the arm, at its root. The other joint, the larger of the two, rises from the elbow, and is
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Third movement.
Third movement.
Move the wrist in a slanting direction right and left, as above, first slowly, then quicker and quicker. Hold the elbows as before. By this movement, both the joints mentioned above will be put into action, 21, 22....
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Fourth movement.
Fourth movement.
The young violinist, who generally finds the sideways movement of the wrist of the right hand so difficult, will derive great advantage from all these wrist exercises. Holding your arm quite still, move the free hand or fist vigorously round in a circle, 20 times to the right, and 20 times to the left, first slowly, then more quickly. By this exercise all the muscles of the hand and the arm will be put into motion, and though the most difficult of all, this is at the same time one of the most im
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First movement.
First movement.
Take for each hand three cylinders, three quarters of an inch long, and from half to one inch in diameter, according to the size of the fingers; place them between the upper ends of the fingers, and while gradually and conveniently extending the muscles, by bending the fingers, move the latter as shown by the above figures, 24 and 25....
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Second movement.
Second movement.
Move the cylinders further down, to the roots of the fingers, and perform the exercises according to Figs. 26 and 27. In doing this, put a small round piece of wood between the thumb and the forefinger, at a distance sufficient to extend the former as much as possible. Leaving the other fingers as before, put a large cylinder between the thumb and forefinger (28 and 29), so as to entirely fill up the intervening space. In doing this, be careful to extend the thumb as much as possible. In case th
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CHAPTER XIV. MECHANICAL FINGER-EXERCISES (CONTINUED).
CHAPTER XIV. MECHANICAL FINGER-EXERCISES (CONTINUED).
Moreover, beautiful works of art, like pianofortes, violins, and other musical instruments, ought not to be used as gymnastic implements. They are destined for play , not for gymnastic appliances. The fingers and joints ought, therefore, first to be gymnastically exercised; then play upon the instrument. The head and the fingers ought to go together; but how is this possible if the latter remain behind? The mind strives forward, the fingers keep it back. Why should this torture be inflicted? No;
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CHAPTER XV. BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY THOSE OF THE THUMB AND THE LITTLE FINGER.
CHAPTER XV. BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY THOSE OF THE THUMB AND THE LITTLE FINGER.
Take a board, about 22 inches long, four to five inches wide, and three quarters of an inch thick, and mark out on it four or five grooves, about half an inch deep. To fix this board on the table, have a little ledge glued on to one of its sides, as in Fig. 36 and 37. Place the outstretched hand on the board; stretch the thumb and the little finger as far as possible away from one another, into one of the grooves, place the other fingers into one of the other grooves, and set them in motion, whi
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CHAPTER XVI. ON STRINGED INSTRUMENTS IN PARTICULAR. THE WRIST OF THE RIGHT HAND.
CHAPTER XVI. ON STRINGED INSTRUMENTS IN PARTICULAR. THE WRIST OF THE RIGHT HAND.
The following mechanical gymnastic exercises refer to the wrist of the right hand , and are intended for players on stringed instruments. Their chief purpose is to render the wrist of the right hand and the forearm strong and flexible. This all students find very difficult; it will soon be evident for what reason. It is a fact acknowledged by the most celebrated musicians, that the principal bowing difficulties in playing the violin arise from the wrist. This is chiefly owing to the circumstance
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CHAPTER XVII. (CONTINUED).
CHAPTER XVII. (CONTINUED).
There is another very effective gymnastic exercise for strengthening and rendering flexible the wrist of the right hand. A movement resembling it has already been described above, but to prevent any misconception, I think it well to give explicit directions respecting it here. Take hold with your right hand of the extreme end of a long and rather heavy Alpenstock , and while continually keeping the hand in the same place, move it upon the upheld left hand vigorously up and down: 1. With the whol
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CHAPTER XVIII. CONTINUATION. STACCATO.
CHAPTER XVIII. CONTINUATION. STACCATO.
A famous German chamber violinist once remarked to me, “I find that staccato playing is the best exercise for bowing, but I can’t say why.” The reason, however, lies in the fact that, by frequently playing with the end of the bow, or with the staccato-stroke, the muscles of the wrist are put in motion, thus undergoing a gymnastic training by which strength and flexibility are acquired. It is impossible to perform the staccato-stroke well, unless the muscles of the wrist have become strong and ag
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CHAPTER XIX. CONCLUDING REMARKS.
CHAPTER XIX. CONCLUDING REMARKS.
I will only add in conclusion, that it would be well not to continue too long with the same gymnastic exercise, but to allow the muscles and joints some change, which will be found both agreeable and advantageous. If, therefore, the student be tired of one exercise, he should begin another. Besides, if the fingers are fatigued and hot by playing, and the nerves irritated, an exercise of some of the different free or mechanical gymnastic appliances will refresh the muscles, by imparting to them a
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TESTIMONIALS.
TESTIMONIALS.
From Prescott Hewett , F.R.C.S., Surgeon to St George’s Hospital, late Professor of Anatomy to R.C.S. Aug. 28th, 1865. “Having carefully examined the gymnastic exercises invented by Mr Edwin Ward Jackson for the due working of the fingers and hand, I have great pleasure in stating that I believe that such exercises will be of the greatest use, not only to musicians, but to every one who wishes to possess a perfectly free use of his hands. The power and the freedom obtainable by exercises such as
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