Akademia Muzyczna im. I. J.

Paderewskiego w Poznaniu

Wydział Instrumentalny
Katedra Fortepianu, Organów i Akordeonu
Specjalność Fortepian

Giuseppe D’Aloi

Martha Argerich and piano technique: science behind

controlled pianism

Praca dyplomowa
napisana pod kierunkiem:
prof. dr hab. Anny Organiszczak, prof. zw.

Poznań rok 2018

Giuseppe D’Aloi

Akademia Muzyczna
im. I.J. Paderewskiego
w Poznaniu
Instrumental department

STATEMENT

Knowing the consequences of not confirming the truth (​Study regulations,​ § 29, point 3
to point 5) I hereby declare that the submitted master's thesis entitled
“Martha Argerich and piano technique: science behind controlled pianism”
was written by myself, which means that I did not order it to be written in whole or in
part by a third person and – except quotes documented in the text – I did not write it
down in whole or in part from other authors.
At the same time, I declare that the electronic version is the same with the printed
version.

Czytelny podpis

Poznań, dnia

2
Martha Argerich and the piano technique: science behind controlled pianism

1. Introduction……………………………………………………………...………………….4
1.1 Theoretical aims…………………………………………………………...……....5
1.2 Practical aims…………………………………………………...................5

2. Structure of the limbs……………………………………………………………………….6

2.1. Arm, forearm and hand: division of the system…………………………………..7
2.2. Arm, forearm and hand: segmental management of the system………...13

3. Weight and forces...………………………………………………………………………..15

3.1 Weight balancement…………………………………………………………...…17

4. Segmental management of levers………………………………..………………………...20

4.1 Function of palm………………………………………………………………....24
4.2 Finger pad and sound………………………………………………….....27
4.3 Rotation angle………………………………………………….....28
4.4 Cycle of actions in finger articulation…………………....30

5. Psychological influences…………………………………………………………………..34

6. Summary…………………………………………………………………………………. 37

7. Notes………………………………………………………………………….....................39

8. Bibliography…………………………………………………………………………….....40

3
1. Introduction
The development of european music tradition is a complicated phenomenon. The historical,
cultural and political influences that have characterized and modified the artistic propensities
of the thousands of European peoples (and similar) makes it almost impossible - or at least
very complicated - to analyze the individual reasons for which certain peoples have had more
or less important roles in evolution of what we now call simply classical music.

It is also true, however, that even within large artistic communities often coexist many
prominent personalities that, for charisma and ability, manage to change and influence the
fate of a given discipline.
It is above all true that those same deserving personalities can often have ideas that are
completely opposite to each other, ideas that do not necessarily have to destroy each other
due to their opposition, but which can coexist and demonstrate positive and negative aspects
to each other.
This is the story of any artistic discipline that, unlike science - which imposes a mathematical
stiffness that leaves no room for interpretation - allows everyone to conform to mass ideas by
accepting generalized concepts and uses or to develop their own opinion by trying to
demonstrate it through practice and above all through the beauty of product.
Art has always meant freedom, it doesn’t know any unmodifiable rules and finds boundaries
only in lack of imagination and inspiration.

As a musician, I have always been fascinated by the possibility of being able to look at the
same thing from different points of view, as well as the possibility of being able to interpret it
using thousands of different languages ​while expressing similar concepts.

4
1.1. Theoretical aims
The aim of this research is to analyze, from a scientific point of view, one of the most
important aspects related to piano discipline: the technique.
To do so I will use and compare different sources, my personal experience and experience of
other pianists. But above all, in order to make the work more precise and interesting, I will try
to look at it from the perspective of one of the most important and charismatic personalities
that the twentieth century has been able to offer to the musical and pianistic world: Martha
Argerich.

1.2. Practical aims

I will propose to the reader a series of technical examples that will offer him the opportunity
to learn more about his body, the functioning of the muscles he uses during his work and the
relationship between what he does and the performance that could be subsequently obtained
during performance.

5
2. Structure of the limbs
A good research has to allow the reader to fully use of all the elements he deals with, that’s
why I will have to make a few of assumptions that will be needed in order to understand the
following. These assumptions imply the knowledge of the muscular structuring of the human
upper limbs used by the pianist in the performing phase.
The upper limbs are composed by different sections that voluntary react to the stimulation
imposed by the brain.. These sections are:
● Shoulder
● Arm
● Elbow
● Forearm
● Wrist
● Hand
● Fingers
NB .: the shoulder, the elbow and the wrist are sections of connection and articulation
between the parts of the limb that have a great role in energy management.

It is not vitally important to dwell on the bone composition of the limbs, just bear in mind
that the correct functioning of the muscles relays a lot on the position taken by the pianist
during the performance phase and therefore on its physical conformation (stature and bone
size).
On the other hand, the issue concerning the muscular composition and the tendons of the
limbs is of greater importance because their role within the general physical context (which
from now on we will call SYSTEM) influences positively or negatively the approach of the
pianist during practice and consequently during public performances.
Voluntary muscles, through their contractions modify the position of the skeleton using the
tendons.

6
2.1. Arm, forearm and hand: division of the system
For convenience, and since we are not going to analyze in detail all the muscles that are part
of the limb but only those more involved in the system, we will distinguish two types of
muscles that perform specific actions: flexions and extensions. We will not treat the
supination and pronation movements that, despite having an important role in the limb
movement, do not manage any role of relevance in the system. The flexors are muscles
involved in the flexion of a certain portions of the limb, the extensors instead perform the
opposite process, precisely of extension.
It is important to take care about this difference because it will subsequently be analyzed in
more detail.

Muscles used:
● Biceps: the biceps muscle is the largest anterior muscle of the arm and is directly
attached to the scapula. It is responsible for the flexion of the elbow and arm on the
forearm as well as for the supination of the forearm.

● Brachial muscle: it is located deeper than the biceps and performs the same functions
- except for supination - more powerfully. Along with brachial we have the
coracobrachial muscle which is responsible for the flexion of the arm.

7
 ● Triceps: the triceps muscle is the largest back muscle of the arm and is directly
attached to the scapula. It is antagonistic to the biceps, therefore, it has the function of
extending the elbow and the arm on the forearm.

The forearm is divided into 2 compartments:

1. Front group:
● Surface layer

8
● Middle layer

● Deep layer

9
2. Rear group:
● Superficial layer

● Deep layer

● Lateral subgroup

10
Among these the most important muscles are:
● Supinator: the supinator muscle is responsible for the supination of the forearm of the
hand. It is most effective when the elbow is in extension.
● Carpus extensor muscle: the extensor muscle of the carpus has two forms, short and
long; both are situated inside the forearm and are responsible for extending and
flexing the hand on the forearm.
● Radial flexor muscle of the carpus: the radial flexor muscle of the carpus flexes the
hand and the forearm.

The hand is divided into four cells:

● Tenar cell: containing the muscles responsible for the movement of the thumb;

● Hypotenar cell: containing the muscles responsible for the movement of the little
finger

11
● Intermediate cell: containing the four lumbrical muscles responsible for the movement
of the phalanges except for the thumb

● Interosseous cell: contains the dorsal and palmar interosseous muscles that give action
to phalanges

12
2.2. Arm, forearm and hand: segmental division of the system
In physics, a lever is a simple machine capable of transforming energy, consisting of a rigid
rod free to move around a fixed point, called a fulcrum. To be considered as such, the rod
must be able to transfer energy from one point to another in a system, multiplying the amount
of energy applied at the beginning.
Piano is an instrument where the sound production takes place through a mechanism of levers
which, by applying power on the keyboard, activates a series of subordinate mechanisms
which, unbalancing levers, lead the hammers to hit the strings placed in the soundbox.
The application by the performer of the force necessary to hammer activation can take place
in different ways, so a proper knowledge of the possibilities of approach to the key greatly
influences the sound quality and the technical skills of the pianist in the performance phase.

As explained in chapter 2 and 2.1, the system used by the pianist is made up of different
sections - muscles, ligaments and bones - which, therefore, work in synergy to create a
physiological homeostasis situation that must create maximum yield with minimum effort. It
is possible to interpret the totality of the system (and therefore of the available levers) in two
ways:
1. as a single block that goes from the shoulder to the fingertips;
2. as a series of interconnected segments that have relative autonomy but behave in such
a way as to allow a general functioning in synergy.
In the second case of interpretation, for convenience, we will divide the system into 4 parts:
● shoulder;
● arm;
● forearm;
● hand;

The hand, however, can be conceived in different ways, possessing, in fact, each finger more
phalanges and having them the possibility to change their angle of rotation, each phalanx can
be considered as a separate segment or, in union with each other, as a single lever directly
connected to the palm.
Two sections, part of the last phalanx (the one that comes in contact with the key), however,
must always be well distinguished: fingertip and finger pad (or fingerprint).

13
This distinction will be of fundamental importance when we will discuss about the ways to
approach the key.

14
3. Weight and forces
The last step needed to start discussing certain technical topics is to understand the weight
necessary during the depression phase of a single key and, consequently, the power that must
be used by the pianist.
Analyzing how the keyboard on a modern piano works we can notice that at least twenty
different parts are subjected to movement from the moment a key is pressed until the moment
the hammer hits the string.
The elements of the mechanism can vary in size and material but all have a common quality:
they are designed to have a limited range of action in order to make the last movement of the
hammer as precise as possible.
Since, as explained in chapter 2.2, the keys of a piano consist of a series of levers that have
the only task of multiplying the force applied on the keyboard, one can in a very approximate
way affirm that the weight necessary to depress a key up to the bottom is equal to about 50
grams. It is therefore clear that the force necessary to depress a series of keys at the same time
should in no way fatigue the hand and fingers, considering the small amount of weight (and
energy) to be applied.
However, among pianists, it often happens to observe fatigue and discomfort during the
performance of certain more or less technically difficult pieces.
Why? The answer is very simple: an adult human limb weighs over 10 kilograms: a very
common mistake among students (and among teachers) is to consider this weight as a ballast
that fingers must take care of.
Physically speaking, a weight free to move around will tend to fall downward due to gravity
until it reaches the closest point to the center of the Earth's gravitational field or its movement
is interrupted. By translating this concept to the act of playing the piano, this free weight is
represented by the pianist's arm while the body responsible for its stopping is the finger
through the contact with the keyboard. Wrong!
The limb in fact, considering its weight and size, must not and can not be considered as an
inert section, to be then supported by the fingers. Instead, it must act as support to fingers so
that fingers can be in the best conditions to perform their tasks; we we will discuss about
tasks extensively later.
Another common mistake is to consider the finger as the only responsible for the depression
of the key, entrusting only to it and to the muscles that control the pressure action, thus

15
suffocating the weight and therefore the power that could flow from the shoulder downwards
through a correct use of the whole system.
Coming back to the function of a lever, a criterion of vital importance establishes that a lever,
in order to work effectively, it must be solid enough to allow the energy to flow freely from
one point to another without compromising the structure system physics. In fact, if this lever
is not sufficiently resistant, it would trivially break, interrupting the flowing of energy and
consequently the functionality of the system. Within our system, the last lever, responsible
for the transfer of force to the key is represented by the fingers, and specifically by the
phalanxes. In fact, the finger, and consequently the phalanges, must be sufficiently strong in
order to temporarily support the weight given by the arm to effectively transfer it to the key.

16
3.1 Weight balancement
With weight balancing we indicate the relaxation action of the entire muscle mass in a
specific position, in order to allow the conveyance of energy and power to a designed spot. A
good example to correctly give the idea of ​balancing could be given by imagining the action
of balancing the whole body mass on one foot. In carrying out this action we strive to keep
one foot in contact with the ground trying to move and then balance the weight of the body
on the other one in order to keep the whole body in balance.
The same action should be perpetuated when force is applied during the act of playing the
piano. In fact if we consider the entire limb as a weight to move - in order to unbalance the
keys and then the hammers - and re-balance in different positions we notice that, as specified
in chapter 3, the extra forces to be applied will be minimal if not nonexistent.
The balance of the weight on the keyboard can be reached in different ways that vary
depending on the speed of performance, the sound or the type of articulation required. In any
case, before talking about balancing, we must list the actions that have to take place before
and during the depression of a key.
Depression occurs through a series of cyclical actions that must therefore occur in sequence,
whether they are single or multiple depressions - these actions have the function of creating a
situation of muscular homeostasis in which the action of muscular effort is reduced to a
minimum -:
1. Neutral position: quoting Chopin, to get a good muscle yield during the performance
phase, just know some positions of the hand on the keyboard and know how to use it
correctly. These positions are got by letting the hand lay on what we will define a
neutral position, and then by positioning the hand on the keys through the
modification of the height of the fingers, wrist, arm and elbow.
2. Extension: the extension follows the positioning of the finger through its articulation.
Articulation can take place in different ways that, once again, vary according on the
quality of sound required:
a. from the key: the finger contracts without detaching from the key and
maintaining the position got in phase 1. The contraction can occur more or less
rapidly depending on the quality of sound required.
b. towards the key: the finger first contracts upwards and then towards the
bottom of the key.

17
 3. Flexion: flexion is the most important moment of the three actions because it
corresponds to the moment when the finger takes over the weight transferred from the
arm. In fact, the flexion movement it’s not needed to create depression but to create
the stimulus that will start the recovery of weight by the limb.
4. Neutralization: this phase corresponds to the first one, in fact once all the movements
necessary for the depression of the key are performed and the weight is recovered by
the arm, the system returns to neutral position reacting in such a way as to achieve to
the position required by the next step and then repeating all the process from the
beginning.
At this point, returning to the weight balance topic, we can list the different ways to balance
the weight on the keyboard. For this I will use some examples treated by Nanev in his
research work, including a brief analysis of how they weight is balanced by Vladimir
Horowitz and Martha Argerich.
As surely everyone has at least once noticed, Horowitz intrigues for the ability that has to
keep the wrists and so the palms basically below the level of the keyboard, entrusting the
work of depression of the key to the articulation of the finger or, when the sound requires it,
to the action of fall of the forearms on the keyboard. This technique of approach to the key
involves balancing the weight on the level of the wrists, thus creating strong mechanical
stress on the ligaments of the wrist and forearm.
By contrast, the Argerich, keeping the fingers straight over the keyboard, balances the weight
on them, forcing the wrist to stay slightly higher and supporting it with the muscles of the
arm. This mechanism allows her to unload the entire weight of the arm at the time of flexion
of the finger thus avoiding stress on the wrist and therefore risks of unwanted contractions.
In conclusion, weight balancing is important to avoid keeping the system in continuous
contraction and to use the energy supplied by the limb itself. Whether it is balanced at the
keyboard level (Horowitz) or above it (Argerich), the idea is that the system must have
moments of breath in which it disengages from the depression activity of the key. These
moments correspond to the phases of neutralization that are opposed to the extension and
flexion phases.

18
19
4. Segmental management of levers
Now that we have a clear idea of how the system is structured, how forces are used and of
how a mechanism of a levers works, we can apply this knowledge to conceive the whole
system in a segmental manner.
During my research work I met an excellent analysis written by Dr. Ivo Nanev1 in which
every lever of the system used by the pianist is linked to a specific pre-established movement
in order to make the entire limb capable of generating movements as much as possible
controlled and accurate, just like happens on the mechanics of a piano.
Dr. Nanev entrusts fundamental importance to the role of the arm but in a more precise way
he talks about the finger analyzing the technical mechanisms that Martha Argerich uses in
several of her public performances. It was incredibly interesting for me to find connections
between the analysis carried out by Nanev and the information provided by Eigeldinger in
“Chopin: Pianist and Teacher as Seen by his Pupils”.2
The ability to keep the fingers straight in contact with the keyboard, together with the optimal
use of the finger pad, is a perfect mechanism to send information about the state of the
performance to the brain. The finger pad has exceptional characteristics from an anatomical
point of view, in fact, being one of the most innervated points of the body, has a unique
ability to process the informations acquired through contact and then transfer them to the
brain .
The energy thus conceived could be divided into two different categories that involve the
depression of the key in two different ways: active and passive. Approaching the key in an
active way involves activating the finger before and after contacting it with the key. On the
contrary, approaching it in a passive manner involves a complete unloading of the weight
supported by the forearm or the whole limb, directly on the key.
● Active energy: approaching the key in an active way involves the contraction of the
finger before and after contacting it with the key. This mechanism can be used both
on single notes and on longer passages but in any case its functionality is more
effective in slow tempos. This is because the main aim of finger activation is to
emphasize a certain sound by carefully controlling the movement of the hammer.

1
See notes p. 39
2
​ hopin: pianist
C and teacher as seen by his pupils, Jean-Jacques Eigeldinger, 1987
20
 ● Passive energy: on the other side, approaching in a passive way does not involve the
use of the finger in a controlled manner, in fact the depression occurs through the
unloading of the weight by means of the palm joint (ie increase or decrease of its
height compared to the keyboard).
Clearly both modes of energy transfer can be used independently, yet being aware of the
notation and managing the whole system in such a way as to accurately control this ability
provides the pianist with freedom of performance and a much wider sound range. It is indeed
important, during the interpretation phase, to make as clear as possible what we want to
express through the music that is performed, the ability to distinguish on which elements of
the notation to dwell and use one or the other mechanism of application of force in a correct
manner guarantees control and order.
In this regard, once again, Dr. Ivo Nanev offers us a good analysis of this idea by using
Martha Argerich performances as an example. Attached below you will find the score of
some parts from Chopin's Concerto for Piano and Orchestra in E minor; the blue arrows
indicate the points of elevation of the palm, the points in which the finger is activated and
focuses on a certain sound to emphasize it (according to the conditions above).

21
22
The analysis of Argerich's performance, according to Dr. Nanev, shows that the activation of
the finger occurs in the following cases:
1. Long notes, quarters or greater, are performed through the activation of the finger;
2. Suspensions, anticipazione, appoggiatura or any other two or secondary sentence
ligature;
3. Synopsis and notes focused on the long note;
4. First note of a long series or quick steps (eg volatine).
It will perhaps be surprising, or at least it was surprising to me, finding out a strong similarity
between this theory, its interpretation related to Argerich's performance and some idea
expressed by Chopin in the context of emphasizing certain musical passages. Here is the text
taken from Eigeldinger3:
"A long note is stronger, as is also a high note. A dissonant is likewise stronger, and equally
so a syncopated note. The ending of a phrase, before a coma, or a stop, is always weak. If the
melody ascends, one plays crescendo, if it descends, decrescendo. Moreover, notice must be
taken of natural accents. For instance, in a bar of two, the first note is strong, the second is
weak, in a bar of three the first strong and the two others weak. To the smaller parts of the bar
the same direction will apply. Such then are the rules: the exceptions are always initiated by
the authors themselves."

3
​Chopin: pianist and teacher as seen by his pupils, Jean-Jacques Eigeldinger, 1987, pp. 27
23
4.1 Function of the palm
As demonstrated in the previous chapter through the examples of the F. Chopin Concerto for
Piano and Orchestra performed by Martha Argerich, the wrist has a particularly important
role in the transfer of energy and in the creation of inertia through its movement on the
keyboard. It could be compared to the breathing performed by singers and wind instruments
when the music (and the performer) needs it or to movement of the bow by strings players.
Both the moments dedicated to breathing or to move the bow have a characteristic in
common with the movements that a pianist should perform with the wrist: they are planned.
The planning of these movements is needed, as broadly illustrated in chapter 4, to make the
musical illustration as clear as possible, by identifying climax points and therefore the
consequent management of movements in this sense.
In the technique used by Martha Argerich, as mentioned, the wrist has extraordinary mobility,
follows the musical trend and supports the fingers to allow their movement in freedom as
much as possible. Once again in this context, Dr. Nanev helps us through the analysis of
possible movements by the wrist and the analysis of the movements that Argerich actually
performs through it. Below is a brief summary that illustrates the theories of Nanev.
Argerich appears to be using an orbicular circulation of the palm, which geometrically
resembles a multi-directional movement of a tilted half-sphere or disc. Further, these complex
actions are summated with the flexion and extension the arm, which commands the weight of
the palm to be distributed statically, dynamically, and conversely - linearly and angularly.

In attached image, a tilted disc is illustrated. The red lines represent the palm, while the
yellow lines outline the five fingers. The disc is divided into two segments with the blue line,
which signifies the metacarpophalangeal joints (Chap.). At this illustration, the half-disc
performs its orbital turn around a tilted axis, which can change its angle via force-motion of

the wrist​.

24
The 45 ̊ (s.c. 4.2) tilt of the disk, which represents the 45 ̊ Angle Touch, also creates another
set of contrary slope points of rolling the weight distribution: in the right hand, in the
direction of the right - at the fifth finger, and left - toward the thumb. The green lines show
the linear and angular motions of the tilted disc or palm along with the variable angles of the
tilted axis. At this illustration, the third finger hypothetically contacts the keyboard with the
45 ̊ Angle Touch. On the other hand, the changes in the tilt of the axis of the disk configure
the palm placements: if not tipped, the disc would stand flat, resulting in the Neutral Palm
Placement. Tilting of the disc by 45 ̊ transforms the palm into the Flexed Palm Placement
while tilting the axis with 90 ̊ would elevate the palm into the Vertical Palm Placement.

Rounded Circular Motion

Rounded circular motions are one of the most complicated movements observed in the
human body, and the consistent cycle of elevation of one segment of the disc simultaneously
with the lowering of the opposite creates inertia, which enables the joints structures to operate
with a minimum force-motion. This kinetic energy is most appropriate for small bone
configurations, such as the palm, since the heavier weight will cause greater acceleration,
which will dispatch the hands away from the habitual zone of accuracy. These kinetic
motions should not be confused by the principle of performance through dropping the weight
of the forearm onto the keyboard by means of Forearm Rotation. The playing apparatus
cannot exist without the utilization of the body’s naturally occurring kinetic energy, which
allows the transfer of energy between working and resting muscles. The proposition of
“economy of movement” by some piano pedagogues should refer only to the elimination of
actions that create unnecessary torque forces of the joints, as opposed to eliminating dynamic
muscular movement altogether.

Finger Independence
The command of one finger - of the disc - to depress a key will elevate the rest of the fingers
of the palm (according to the tilted disc), which will give them an opportunity to be prepared
in the air to command their Controlled Finger Articulation synchronized with the remaining
muscles of the arm through Power Transfer.

Finger Independence Derived From Power Transfer

The palm plays a fundamental role in Argerich's technique, and its functions and movements
must be studied individually: they trigger fundamental workload inter-communication in both

25
the muscles of the forearm and upper arm/shoulder. Remarkably, in Argerich's technique, one
muscle group transfers its own energy to another, which further transfers the energy to
another - and again to another - a persistent chain of a "power transfer."

If the palm is extended, it allows the flexor to take the power by flexing the palm, which
gives the power again to the extensor, which gives the power back to the flexor, and so on.
When the palm is climbing forward and dropping backward, the movement is known a
"Flap." The purpose of the flap is to initiate recycle usage of muscle "tension-rest" among the
muscles of the forearm.

The same concept could also be applied to the palm via the oblique flexors and extensors,
which will activate the famous forearm rotation - executed by the biceps and triceps.

When one combines the flap with the rotation, the palm performs 360˚ orbital turn, which is
achieved by the transfer of power between the outer oblique → to flexor → to inner oblique
→ to extensor → and again to outer oblique - forming the complete 360˚circle of the palm.

These are the movements of the palm that transfer their primary energy among the forearm's
muscles. This event is known as micro-synergy or Micro-Motions.

Further, we must also study the movements of the elbow, the next joint after the wrist. When
the palm is flexed, the elbow is moved forward - the biceps is extended, when the opposite
happens, the palm is extended - the biceps is flexed. When the oblique biceps and triceps are
either flexed or extended, the shoulder takes control by the workload of its many rotator
muscles.

The movement of the elbow is viewed as a Macro-Motion Synergy or simply

Macro-Movements

According to the angle of the palm, one-half of the arm rests while the other works, exactly
as a biomechanical machine. The smaller muscles are ideal for accuracy because they contain
light weight. This vitality makes the palm very active and efficient for the transport of the
fingers where they need to be in position.

On the other hand, the upper arm is heavy, and its best function is to gently support the work
of the forearm, palm, and fingers, through its gravitational power. The upper arm rests
vertically toward the ground. Any modification will result in an imbalance. The perpetual

26
movement of the upper arm, vertical - to modified - to vertical, is viewed as Biomechanical
Inertia.

This whole machine is based on a Sequential Interaction between all muscle groups - because
it happens in the order of a "train," as opposed to all at once.

4.2 Finger pad and sound

By analyzing the Argerich’s way of play and as illustrated in chapter 3.1, the production of a
single sound is activated by the extension of the finger into the air, followed by the flexion of
the finger on the surface of the key. This process conditions the brain to calculate different
variables related to the depression of the key:

1. the speed of attack recorded through the deformation of the skin in contact with the
key in the moment of flexion;
2. the sliding of the finger pad on the key through the rotation of the phalanx (and
finger).

This way of sound production takes place unconsciously but being aware of it allows the
pianist to acquire a quantity of data that becomes useful when it comes to sound quality. It is
therefore clear that the initial contact between the finger and the key is of fundamental
importance, both for a matter of personal safety and for the situations described above. The
mobility of a finger can greatly vary depending on the position of the hand in connection with
the forearm, the angle of the wrist and the height of the shoulder. However, it’s sure that the
chances of changing the position of a finger held in a straight position are much greater than
those of a finger held in a curved position. In fact, when all the tendons and muscles work in
the first of the two conditions above, the finger can reach a rotation angle equal to 180
degrees (considering the key as the starting plane) that corresponds to what Argerich
reproduces at the moment of the key depression. In any case, the more precision is required,
the more the angle of approach to the key must be less. Therefore the recommended angle
should be of about 45 degrees.

Because of the physiological diversity between each finger, this angle can be reached through
different vectors, each vector affects the quality of the sound so they will be treated
specifically later.

27
4.3 Rotation angle

The approach to the key through a 45-degree angle can be obtained instinctively or through
practice, in any case the communication between all biomechanical events allows the
Argerich to provide a positioning of the finger in a state of complete physiological
homeostasis that offers elasticity and balancing necessary for precise and long lasting
performances.

A complete emancipation of the mobility of the finger supports not only elasticity but also the
possibility of obtaining a wider dynamic range, through a greater control on the movement
speed of the hammers. The ability to manage this skill depends on a determining factor:
freedom of movement of the finger.

The finger must in fact be supported by the entire limb in the moment before and after the
depression of the key in order not to cause contractions to the wrist or the elbow which could
lead to an inevitable malfunction of the whole system. The criterion of approach to the key
from a predetermined height is designed to entrust a single task to the finger, that is the
depression of the key, if the depression occurs then through the action of the entire limb or by
contraction of the finger is theoretically completely irrelevant, this action in fact affects the
sound quality required by the notation.

According to Dr. Nanev, the relationship between support and elasticity that must exist
between the limb and the finger is excellently showed in Chopin’s Etude op. 10 n. 2.

Like many of the Etudes belonging both to Op. 10 and 25, it presents a schematic structure
and focuses on the technical aspect concerning the management of the chromatic distance on
the keyboard. Nanev argues, as Chopin has repeatedly done with his students, that in order to
play the piano in a productive way, one must be aware about how to approach certain
well-defined positions and simply modify the approach to the key to achieve the sound
required by the notation. In the case of the study mentioned above, its clear schematization
from a structural point of view allows us to focus on two aspects: the support from the arm
towards the fingers and the connection relationship between the finger pad and the key.

28
In the image above I reported in red two of the technical elements that this Etude proposes to
practice: the chordal element in which the whole hand is used and the chromatic element in
which only one finger at a time actioned.
The management of the chromatic passages according to Nanev must be done through a
gesture of sliding the finger on the key in order to benefit the connection between the fingers
(considering also the frequent non-contiguous between the fingers) and a natural bond (to
avoid an exaggerated use of the resonance pedal). Instead of what is often thought, however,
everything must be done through a good support from the limb towards the hand; in fact, in
addition to providing a harmonious support to the music, the chord element indicates a good
point of support on which it’s possible to unload part of the weight supported by the arm in
order not to suffocate the fingers engaged in performing the series of fast notes indicated.
Furthermore, slipping the finger on the keyboard could be exploited to deal with another
aspect of relative importance linked to the function of the finger pad. The physical
appearance of each key, in an octave range, has a distinct form; the sides of each key are
modeled differently based on their position relative to the black keys. The continuous sliding
of the finger pad on a key, the sensorial acquisition of its shape, its sides, sides and angles
provides a significant amount of information useful for sensory memorization related to
depressions, whether they are single or multiple singles. The finger pad offers a useful
connection between the movement of the palm movement between a white and a black
button. This note is revised by Chopin whose pedagogical and written studies often
recommended this kind of movements that premised a comfortable movement relative to the
shift between white and black keys.

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4.4 Cycle of actions in the articulation of the finger
The approach to the key, as discussed above, has a major influence on various aspects related
to the muscular response of the limb and consequently to the sound that will subsequently be
produced by the action of the hammers.
The speed and approach of the fingerpad to the key generates many variations on the
movement of the hammer, without involving the arm or extra forces.
During piano performances, arms are subjected to a continuous workload, each muscle and
tendon must endure a continuous phase of contraction and relaxation to support the arm in a
functional state of homeostasis. The two main groups of muscles - flexors and extensors - are
unified in Argerich’s technique to operate as a biomechanical machine that carries an
uninterrupted charge of energy through all the sections of the arm, thus facilitating fatigue
due to the length of the performance.
A unique feature observed in her technique consists in a continuous elevation of the fingers to
a constant height (see chapter 4.2). This height allows Argerich to create biomechanical
inertia that inhibits an otherwise inevitable and continuous elevation of the palm. When the
palm is vertically balanced on the keys, it allows the elbow to move forward, effectively
extending the length of the entire arm and distributing the necessary energy load between all
the muscles in order to satisfy any technical need. All the gestures used by Argerich are
carefully planned so that we could list them in a context of predetermined perfomance time
scenarios:
● slow to moderate time - in which vertical elevation of the finger is performed on
pre-established notes (see chapter 4 eg Chopin Concert).
● moderate to fast time - in which the vertical elevation of the finger will be performed
systematically towards pianistically useful and productive positions.
When the vertical positioning of the palm is used for the production of a single sound,
Argerich preemptively touches the key to be depressed and presses it from an angle of 0
degrees, resting the entire mass of the palm on the designed finger. This synergy goes
through three positioning phases: neutral position, flexion and palm re-positioning. (see
chapter 3.1)
Argerich places the hand in a neutral position with the preparation of the finger which is
extended to the desired height through its joint. Then sets the height of the palm according to
the intensity and the desired sound quality. Finally, the finger, in a straight position, is

30
extended and this modifies the position of the elbow by balancing the weight of the entire
arm that is temporarily resting on the finger.
The sound produced through this series of synergic movements ensures great control over the
quality of it, since the weight used by the arms is kept under control. The vertical positioning
of the palm becomes of vital importance both in the control of strong and delicate sounds.
This versatility of sound reveals how Argerich manages to control the vertical elevation of
the entire limb from the beginning to the end of a musical phrase. The stability of a finger
through its positioning, activated by balancing the entire limb towards the bed of the key, will
be used as a support for the setting of any type of phrase or musical passage.
Using a technique that incorporates use of straight fingers is only possible when the
biomechanical inertia is implemented in all components of the notational tissue. The basic
principles of these actions consist in a series of repeated cycles of raising and lowering the
palm, since it activates a process of production of kinetic energy that works by contrasting the
force of gravity, thus allowing the palm to fall back on the keyboard in a natural manner by
exploiting the gravitational thrust of the earth. It is important to notice that this muscular
sequence is activated in phrases and passages and deactivated during breaks and ligatures.
The sum of the concepts related to active and passive energy corresponds to the description
and conception of flexibility that Chopin considered essential for every pianist:
"[...] an expert pianist [...] should take care about lifting the wrist and let it fall on the note
that must sing with the greatest flexibility imaginable. Getting this kind of flexibility is the
hardest thing to achieve in my opinion. But, without no doubts, once obtained, the
satisfaction in listening to the beauty of achieved sound will be priceless [...] 4"
We are now going to analyze in practice the series of actions that Martha Argerich applies
during the depression of a single key. I created a small summary of the deep research work
offered by Dr. Nanev that I report below:
The following events take place during a SINGLE touch of the key
● Stage 0: Pre-touch of the key:
Positioning of the end in neutral position, letting the finger to be used touch the key.

● Stage 1: Extension of the Finger

4
​Chopin: pianist and teacher as seen by his pupils, Jean-Jacques Eigeldinger, 1987, pp. 44
31
 The controlled articulation begins with the extension of the finger from the
pre-touched position to the desired height above the key meant to be depressed. The
finger’s absolute elevation is not recommended to be greater than the vertical 90 ̊
height since such length promotes the smallest physical effort of joint’s torque. The
suspension of the finger in the air provides enough room for velocity acceleration, and
such will be sufficient even for the production of the loudest singing tone, the one that
Neuhaus refers to as the “dynamic ceiling of the piano.”

● Stage 2: Depression
The action of the finger depressing the key from its suspension in the air triggers the
“fast tactile skin deformation,” and it is initiated by the flexion of the tendon,
consequently neutralizing the minute tension of the earlier extension. The speed and
height of the finger’s acceleration could vary significantly, and Argerich uses these
fluctuations to modulate the quality of the sound. Note that the vectors of the
alignment of the fingers with the keys will remain consistent in both when suspended
in the air and during contact. Considering both stages are used proportionally, I will
refer to them as a single event: the Controlled Finger Articulation since the performer
is in control the height and speed of each key depression.

● Stage 3: Finger Pad Flexing

The flexing of the finger pad incorporates the time, speed, direction, and depth of the
curling of the phalanges after the contact with the key is initiated. This action uses
additional layers of tendons attached to terminal phalange, which allows the finger
pad to slide onto the fingertip. The after-touch is comparable to the Braille system
because it embraces a movement of the finger pad from one point to another over a
period of time.
The flexion of the finger forms EXTREMELY IMPORTANT neurological signals
that promote the memorization of both the topology of the depressed key and the slow
tactile deformation of the depth of the flexion: both responsible for the creation of
dynamics and articulations. The after-touch also assures the muscular release of the
arm’s weight from the bottom of the keyboard (you can see that Argerich touched the
keyboard superficially but with an immense speed).

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● Stage 4: Following “After-Touch”
The after-touch might resolve in one of the following consequences:
1. Finger substitution - the after-touch forms closeness of the fingertips, and this
proximity is very convenient for finger substitution
2. Fast Pull-Up After-Touch - accompanied by the arm’s connecting movement
in the direction of the next-to-be performed position or register
3. Another Controlled Finger Articulation - the after-touch shifts the weight of
arm onto the next finger, already suspended in the air, ready to depress. This
articulation is present in fast passages, scales, or note repetitions.
4. The flap of the Finger - when a position of the Tripod Hand is anchored,
Argerich isolates the articulation of the fingers by performing finger flaps.
Finger flaps omit the after-touch and rebound directly in the air. The flap of
the finger is comparable with the Controlled Palm Articulation, studied in
depth later in this thesis.

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5. Psychological implications
The process of depression of a key and therefore the application of a force obviously
determine a sensory activation that originates in the brain. Our body reacts to the stimulations
sent by the brain (whether they are voluntary or involuntary) following a communication
scheme - between the part affected by the movement and the part of the brain responsible for
its action - and reciprocal data exchange. There is no movement and there is no reaction if
there is no connection in and out between both sides.
It is interesting to notice that in piano discipline this kind of brain activity varies according to
the movements that the pianist uses and based on the awareness he has of his body.
In this regard, I would like to mention some studies carried out by Dr. Michael Taj Ju Lin of
the Weill Cornell medical institute in New York, which in the treatment of some patients
suffering from Alzheimer's syndrome has analyzed the behavior and the relationship between
the sensoriality of some parts of the body and the management of information acquired by the
brain.
He observed the process of muscular activation from the opposite side of the canonical one
for a neurologist, not starting from the brain but starting from the muscle.
Lin's observations are not of exceptional interest, perhaps from a medical point of view, since
they reveal nothing new, but they may be for us since they show in an excellent way how the
connection between the brain and the muscular apparatus depends on our conscience and not
on our instinct.
The synaptical processes that allow our muscles to function are strongly influenced by the
individual's experience on a given action. Even automatic movements such as sitting or
walking are influenced from birth by our experiences: the gestures of our parents, daily
habits, etc.
The basic concept that needs to be kept in mind is that just as the brain communicates
informations to our body so the body communicates informations to the brain, informations
that remain hidden to our consciousness and that the brain stores and uses in the moment of
need: this is what we call experience. Experience on piano is reached through different
phases: the lessons given by the teachers, the physical characteristics of our body, the success
(and satisfaction) achieved during practice and public performance.
As expressed in chapter 2, muscles responsible for the movement of the limbs are many and
their action can be conceived in different ways. However, the ones responsible for acquiring

34
sensory information are the fingers. Finger pads and fingertips are one among the most
innervated parts of the human body, they function as a bridge of exceptional importance
between our body and what surrounds it. Although our consciousness can rely on five senses,
touch remains one of the most important ways by which human beings get in contact with
reality.
As the fingers of a pianist touch the keyboard, the brain receives informations of different
kinds, from the consistency of the material of which the key is produced, to the pressure that
the skin affected by the contact undergoes to the contact time that affects the finger on the
key. All of this informations, acquired unconsciously, characterize in a very important way
the sound that will be produced once the key is pressed.
In fact, from information about the consistency and shape of the key you can go back to the
position of the finger on the keyboard and from it go back to a relative topographic mapping
of the instrument, relative to the passage or to the piece in execution.
From information relating to the pressure that the skin affected by the contact undergoes,
information can be acquired concerning the speed of movement of the finger and therefore
the speed with which the hammer hits the strings and therefore the dynamic intensity that the
produced sound will possess.
From the contact time that affects the finger relative to the key, it is possible to go back to the
quality of the sound produced.
All these informations - unconsciously acquired by the brain - provide a series of details that
are very important in order to obtain control and mental flexibility during the performance
phase. Pianists are often used to rely on sight as the main sense while playing, then they try to
hear and then to touch, wrong! Once the right spatial awareness of the instrument has been
learnt and the pianist is completely sure about the piece to be performed, the only way to
truly control the sound is through a right tactile awareness. A good knowledge and
memorization of the sensations acquired by the brain when generating a specific sound will
allow the pianist to have almost absolute certainty when it comes to sound quality, much
more than what can be done through a direct comparison between different sounds
rationalized by hearing.
In fact, once the sound has been produced relying on hearing, the pianist can only create a
comparison with the previous one and, through the view, the next position can be
programmed; in any case, one can never be sure about the sound that is going to be produced.

35
The only way to have a better probability is by using the the knowledge and memorization of
sensations achieved during practice in the production of a specific sound.
In this context, the pre-touch mechanism performed by Argerich in certain situations carries
out this task: providing feedback to the brain concerning the state of the finger on the key and
the finger's response in the moment of depression.
There is another very important aspect related to the anatomy of our nervous system. Our
brain identifies the limbs within our bodies as parts whose position can be modified
individually; so that arm, forearm, hand and fingers, are identified by it as single sections.
However, for mechanisms yet to be clarified, it has greater control over the entire limb if it is
kept in a straight position. In fact, in this case, the brain identifies it as a unique element and
manages to control and modify its position in space with better precision.
It is the same mechanism that occurs by trying to touch the nose with a finger without: by
doing this with a bent finger (thus keeping the phalanges in contact with each other), it will
be more difficult to define the position of the finger in space; however, keeping it straight
will be much easier to identify the finger tip and then reach the designated position.
By translating this concept into the piano discipline, we could find an advantage in keeping
the fingers straight on the keyboard just like Argerich does.

36
6. Streszczenie

Jak napisałem w rozdziałach wprowadzających, mocno wierzę, że w każdej dyscyplinie,

artystycznej czy technicznej, ludzie mają wiele możliwości wzbogacenia swojej wiedzy
poprzez inspirację, której dostarczają niezwykle utalentowane osobistości. Dzięki nim
poznajemy perspektywy i techniki, które zapisują się na barwnych kartach historii sztuki.
Jeśli chodzi o mnie, to od momentu, w którym zacząłem myśleć o moich studiach
muzycznych, a w tym przypadku o pianistyce w sposób profesjonalny, byłem zafascynowany
zdolnościami które niektórzy pianiści musieli wyćwiczyć do perfekcji, trudnościami
związanymi z fortepianem, techniką i wszystkim, co można z tym połączyć.
Chociaż sztuka z definicji opiera się na pojęciu surowości związanej z niezmiennymi
regułami, przez lata poświęcone studiom zacząłem odkrywać pewne działania, związane z
aktem gry na fortepianie oraz jej mechanizmem - spoglądając na to z perspektywy nauki.
Wydarzenia te, choć przypadkowe, wraz z rosnącym doświadczeniem, zachęciły mnie do
zagłębienia się w lektury dotyczące ludzkiej anatomii, fizyki i psychologii.
Stąd inspiracja do badań, które dziś prezentuję; Martha Argerich i technika fortepianowa:
nauka związana ze sterowaniem pianistyki - nie stanowiąca konkurencji dla innych technik,
pokazująca jedynie inną perspektywę. .
Zbyt często spotykam się z kolegami, młodymi pianistami, którzy są tak bardzo
zaangażowani w podążanie za ideami swoich nauczycieli, że nie potrafią zdać sobie sprawy z
tego, że ich umysły mają w posiadaniu bardzo wiele umiejętności technicznych, których
instynktownie używają przy okazji swoich występów.
Słowo ,,instynktownie” nie zostało napisane przez przypadek: instynkt jest fundamentalnym
filarem, do którego każdy muzyk powinien być w stanie przylgnąć, aby wyciągnąć jak
najwięcej ze swojej intuicji, by być tak przesiąkniętym tym, co jest proste i wychodzi z
naszej rozwiniętej podświadomości, że nie ma prawa pozostać ślepym i niedojrzałym, staje
się za to uważny i przebiegły.
Moim zdaniem, aby wprowadzić to w życie powinniśmy przestać trzymać się kurczowo tego
co znaliśmy do tej pory. Powinniśmy za to spróbować żyć w harmonii z własnym ciałem i
umysłem - uczyć poprzez znajomość repertuaru, dokonywanie wyborów, a przede wszystkim
poprzez świadomość i kontrolę ciała.
Umiejętność rozumienia, nauki i demonstracji swoich poglądów powinna być filozofią
każdego muzyka - stąd inspiracja do zagłębienia się w ten temat i do moich badań.
Postanowiłem stworzyć ścieżkę, która pokazuje funkcjonowanie ludzkiego aparatu
mięśniowego i jego zdolności, łącząc go z pianistycznymi aspektami poprzez pewne pojęcia
fizyki dając temu wszystkiemu przykład jednego z najbardziej świadomych moim zdaniem z
technicznego punktu widzenia pianistów - Marthy Argerich.
Pierwsza część mojej pracy poświęcona jest anatomii ludzkiego ciała, druga interpretacji
kończyn w odniesieniu do techniki fortepianowej i do pewnych aspektów psychologicznych,
które prawdopodobnie zostały już częściowo zapomniane.
Wierzę, że moja praca będzie w stanie pobudzić ciekawość czytelnika oraz że być może
stanie się inspiracją dla tych, którzy interpretują technikę pianistyczną w sposób zbyt

37
dosłowny. Mam nadzieję, że wzbogacę nieco punkt widzenia osób czytających moją pracę
nie wzbudzając tym samym niepokoju ani wątpliwości.

38
7. Notes
¹Pianist Ivo Nanev started his enduring venture into the music world back in his home
country of Bulgaria. He fell in love with classical music and began piano lessons at an early
age. Ivo entered the National Music School L. Pipkov where he studied in the class of Jenny
Petrova. Being a skilled and dedicated musician, Ivo quickly earned the status of a young
virtuoso, and in 1999 he made his soloist debut performing with the National Conservatory
Orchestra. The success of his performances manifested his first interview and live
performance via broadcast on Classic FM radio.
Later that year, Ivo and his family immigrated to the United States where he continued to
advance his education at Mannes College of Music winning a full scholarship, and studying
with Pavlina Dokovska who helped nourish his talent and shape his artistic persona. In 2001,
Mr. Nanev made his U.S. debut as a soloist performing with Mannes Preparatory Division
Orchestra. Upon his entering the Bachelor’s program, Ivo had the privilege to attend a master
class with Eteri Anjaparidze, Philippe Entremont, and Jean-Yves Thibaudet. Further, he
received an Honorable Mention Award at Five Towns Competition in Long Island, New
York.
Ethan made his Carnegie Hall debut in 2006, and later took part of numerous music festivals:
Fontainebleau France, Viana do Castelo, Portugal, and Music Academy of the West in Santa
Barbara. Additionally, Ivo participated in master classes given by Jerome Lowenthal, Gilbert
Kalish, and Joseph Kalichstein. Some of his concert highlights include Chateau de
Fontainebleau in France, Steinway Hall, Yamaha Hall, Miranda Hall in Portugal, Prais
Conservatory, and The Kosciuszko Foundation in New York City.
Mr. Nanev was accepted on a full scholarship at Manhattan School of Music during the fall
of 2007 as a Master degree candidate and a student of Dr. Arkady Aronov. In 2017, Mr.
Nanev earned his Doctoral Degree under the guidance of Dr. Marc Silverman and graduated
with honors, including The Helen Cohn Award, given for his outstanding Doctoral
Dissertation on the pedagogical investigation of the pianistic approach of Vladimir Horowitz
and Martha Argerich. Based on this research, Dr. Nanev is adopting a new method of
learning the piano that combines elements of Biomechanics and Kinesiology, which provide
the student with the opportunity to learn the piano faster, easier, and more comprehensively.
Stainway&Sons Biographies

39
8. Bibliography
Atlas of Human Anatomy, 7e, Frank H, Netter, MD

Duane Knudson, Fundamentals of Biomechanics (Chico CA: Springer Science+Busi- ness

Media, 2007).

Chopin: pianist and teacher as seen by his pupils, Jean-Jacques Eigeldinger, 1987

A Pedagogical Guide to the Pianistic Approach of Martha Argerich, Ivaylo Ivanov

Nanev/Ethan Nanev, dr. Joanne Polk, dr. Mark Silverman

All the informations related to Ivo Nanev’s research can be found at the following link:
https://www.facebook.com/Dr.EthanNanev/

Dr. Michael Tai-Ju Lin: ​https://weillcornell.org/mtlin

Neurological test that examines the functionality of the Cerebellum:

https://vsearch.nlm.nih.gov/vivisimo/cgi-bin/query-meta​?v%3Aproject=medlineplus&v%3As
ources=medlineplus- bundle&query=cerebellar&_ga=1.145044348.957991779.1482259017

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