Chapter 18: Ortmann: Piano Technique Comes of Age

It seems interesting that we have moved from the invention of specific devices that attach to the piano to a specific piano (The Tekniklavier) designed for specific practicing. The Tekniklavier sounds like a good idea for passage work, but almost seems like a revisitation of the finger school.

It seems like piano schools just exploded in America, and became popular after World War I. I find it strange that piano was centered in Europe for hundreds of years, and in a few decades some of the most prestigious schools in America were established.

I find Ortmann's work fascinating. I have often considered pursuing such research myself in attempt to combine my love of music and interest in science (which I will be graduating with a second degree). Since studying piano at Iowa and gaining more awareness of my body and how it works while playing the piano, I have wondered if it was possible to enhance my understanding from a scientific approach.

I think the importance in Ortmann's method is not necessarily being able to understand all of the science, but to be exposed to it to have a more clear understanding of how our joints and muscles work. Knowing that muscle-tone does not allow for complete relaxation, and knowing the range of motion for a particular joint are all very helpful in playing the piano. A very basic knowledge of these concepts can save one from injury. I found the point on warm-ups to be interesting. Many authors of methods presented previously suggested daily warm-ups for specific amounts of time, but never really gave reasoning beyond limbering the fingers or to build finger strength. I think it is an important point that our muscles, nerves, and therefore, reflexes will work much better when vascularized, and these warm-ups will increase vascularization to the areas we use most when playing piano.

I thought it was particularly interesting that Ortmann claims that a teacher moving a students finger or arm won't be trained because the muscles are not being engaged, and if a teacher wants to teach a certain movement they should put force in the opposite direction of the movement desired in order to engage the muscles needed for the movement. Also, thinking about which muscles are best suited for certain movements can be helpful. Smaller muscles are best used for rapid and small range movements, and larger muscles for power and wide range. I think this can be helpful, particularly for the rapid movements as we often cause more tension by thinking it takes more power to play fast, and therefore, use the wrong muscles.

Ortmann's explanation of coordination and incoordination are interesting. Prior to reading this passage, I had tried to identify places in the music where I could take a second to relax, but never thought about the relaxation that occurs (or should occur) after each movement. Perhaps if we thought of using the smallest and shortest amount of contraction possible, followed by relaxation after every note, our playing would be more fluid (or coordinated) and certainly be less worry for injury.

It is interesting that Ortmann believes that the variances in tone production between two pianists are in the different lines of their movements. I appreciate his very scientific views and also his considerations for musical art. I did not find his explanations dry, and felt that his research in the end was to explain the variances between artists and maintain the heart and soul of music making.