Fingers and finger techniques
Playing by touch without lifting the fingers contributes to a sluggish passive manner of performance. On the other hand, high lifting of the fingers up and down causes the excessive use of energy. Both of these approaches are wrong.
On the accordion, a mere stroke of a finger on a key cannot be a source of sound extraction. Simultaneously with the move of the finger, we move bellows – pressing with the hand. And therefore the principle of a clear, strictly defined stroke with a measured raising of the finger is naturally combined with the principle of finger-key pressing.
This finger pressure is applied along with active hand pressure. To control the volume of the sound. If each finger finds solid support on the keys, then the distinctness of muscle sensations will give a confident and error-free performance.
Finger stroke and finger technique are of great importance in playing the accordion. But you should not see in it something basic and self-sufficient.
The muscles of the fingers are the weakest. And this must be taken into account in the daily work of the student. Fingers are not equal in strength and dexterity.
Therefore, the desire to develop the independence of the fingers and place great hopes on them in the performing process is nothing but a delusion and self-deception.
Nevertheless, you need to know that the speed of small movements is almost always associated with finger technique. This will be understandable if you know that the dexterity of the fingers and their adaptation to perform small and fine work largely depends on the palmar muscles.
Also, the flexibility of the fingers and the ability to take wide intervals of the octave, decima, and chords depends mainly on the degree of stretching of the ligamentous apparatus of the hand in the main metacarpus. And all of this is due to the active work of the muscles of the hand and the skillful distribution of their tension.
After pinching the hand and forearm, the cause of rapid overwork of the muscles and ligaments of the hand is the desire to stretch the fingers. As much as possible by playing wide intervals and chords – a technique that requires special care.
In order to avoid possible sad consequences (playing chords and arpeggios from the third row associated with a large stretching of the fingers) often causes the student has a painful sensation in the third finger.
Of course, with the help of exercises, you can adapt the muscles and fingers to a certain work. But if you do not skillfully use the technique, you can overwork the muscles and make further progress impossible.
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