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MUSI
Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
from the
ARTHUR PLETTNER
ISA McILWRAITH
COLLECTION
C FISCHER'S NEW AND AUGMENTED EDITION
n ' *
WARD-JACKSON'S
n
GYMNASTICS
FOR
THE FINGERS AND WRIST
A SYSTEM OF GYMNASTICS
BASED ON ANATOMICAL PRINCIPLES— FOR DEVELOPING
AND STRENGTHENING THE MUSCLES OF THE
HAND; FOR MUSICAL, MECHANICAL
AND MEDICAL PURPOSES
E. WARD-JACKSON, J. P.
RE-WRITTEN AND ENLARGED BY GUSTAV SAENGER
WITH SEVENTY-TWO ILLUSTRATIONS
CARL FISCHER, Inc.
Cooper S quare
NEW YORK
O695
ENTS
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
XI.
XII.
XIII.
XIV.
XV.
XVI.
XVII.
XVIII.
XIX.
Page
REMARKS vii
)F THE HAND. — ON LIGA-
TENDONS, ETC 1
THE MUSCLES OF THE HAND AND
FINGERS 3
EFFECT UPON THE MUSCLES, LIGA-
MENTS AND JOINTS OF THE FINGERS
AND THE HAND, BY MEANS OF THE
GYMNASTIC TREATMENT 8
NEGLECT OF THE HAND AND FINGERS 11
THE FINGER JOINTS ARE THE LEAST
EXERCISED AND THE WEAKEST 13
THE PRINCIPAL DIFFICULTY DOES NOT
CONSIST IN THE READING OF MUSIC,
BUT IN THE WEAKNESS OF THE
FINGERS 14
MUSIC IS THE ART WHICH MAKES THE
HIGHEST DEMANDS UPON THE
MUSCLES OF THE FINGERS. — UP
AND DOWN MOVEMENTS OF THE
FINGERS INSUFFICIENT 16
ARTISTS AND TEACHERS OF MUSIC 17
EXERCISES FOR THE ARM 19
FREE GYMNASTIC EXERCISES FOR THE
WRIST 23
EXERCISES FOR STRETCHING THE
HAND „ 31
FREE GYMNASTIC EXERCISES FOR THE
FINGERS 36
FREE GYMNASTIC EXERCISES FOR THE
THUMB 48
MECHANICAL FINGER EXERCISES WITH
THE AID OF IMPLEMENTS 52
BOARD FOR STRETCHING THE
MUSCLES, ESPECIALLY THOSE OF
THE THUMB AND LITTLE FINGER.... 64
ON STRING INSTRUMENTS IN PARTICU-
LAR. - - THE WRIST OF THE RIGHT
HAND 66
ON STRING INSTRUMENTS IN PARTICU-
LAR. — THE WRIST OF THE RIGHT
HAND (Continued) 68
CONTINUATION. — STACCATO 69
CONCLUDING REMARKS ... 71
INTRODUCTORY REMARKS
AS TO THE ORIGIN OF THIS SYSTEM OF GYM*
NASTICS FOR THE
FINGERS AND WRIST.
ihe subject of this little work, based upon anatomical and
physiological principles, develops a system of Gymnastics for
the Fingers and Wrist, the object of which is to impart to
them a solid and scientific foundation for the acquisition of
technical skill, applied to the playing upon musical instru-
ments as well as to finger work in general.
A simple statement of the fact may be made, that both the
scientific principles and the practical utility of this system of
gymnastics have met with the approval of the highest ana-
tomical, musical and gymnastic authorities of Europe, at whose
special solicitations I was induced to thoroughly investigate
this special field and who induced me to make my discoveries
known by means of public and private lectures delivered in
many German cities, during the summer of 1864.
in addition to this, I also have the satisfaction of knowing
that this little work has been received with the same approval
by the medical, musical and gymnastic authorities of this
country and has proven a means of practical utility among
those for whom it is more particularly intended.
In all gymnastic establishments throughout Europe and
America gymnastic exercises have been introduced for every
part of the body excepting for the fingers, notwithstanding
that these important members of the human frame — together
nil WAKD-JACKSON'S GYMNASTICS
with the mental organs — are the chief factors in distinguishing
man from the brute creation.
The following might serve as an explanation to all such who
night desire to know in what manner I, as a private individual,
Had my attention directed towards researches of this nature : —
When I was twelve or thirteen years of age I learnt to play the
violin, and afterwards, for upwards of thirty-five years, discon-
tinued it. But, later in life, desiring to accompany my children,
I was induced to take it up again. I then found that, although
f was in all other respects exceedingly strong and healthy and
capable of all athletic exercises, my fingers and hands became
painfully fatigued, after only a few minutes' exertion ; in fact,
I found that my fingers were the only weak parts of my body.
This happened some few years ago and surprised me to such
an extent as to awaken an earnest desire in me to search into
the cause. I became confident that some unknown hidden
cause must surely be responsible for this phenomenon and that
it would be necessary for me to thoroughly probe the matter.
With this end in view I made it my business to come in per-
sonal contact with such individuals who earned their bread by
the sweat of their brow; viz : The smith, the joiner, the brick-
layer, the laborer, the peasant, the gardener, the wood-cutter,
the miner, etc. , etc. I found that all these persons worked with
their arms, acquiring muscles like steel and arms like giants'
thereby; but none of them worked with i\\dvt fingers.
After this I visited schools for boys and girls, and again
I found that in nearly every instance, they made no use of the
fingers in their work. With the educated class of every age
and sex I made the same observation and came to the same
conclusion.
This revealed to me the fact that the muscles of the fingers
are exercised and developed altogether too little in the or-
dinary occupations of life; and therefore, from a physiological
standpoint, must be weak — a fact of much importance.
FOR THE FINGERS AND WRIST. li.
. then visited the most renowned gymnastic establishments >
and begged to be shown all the varied bodily gymnastic exer-
cises, from the crown of the head to the sole of the foot; and
when all these various movements had been exhibited before
me, I enquired: "But, where are your gymnastic exercises for
\\vtfingers?"
" We have none, we never thought of that."
" But they surely require them as much, or more, than all !"
"It has never occurred to us; we did not know the fingers
required gymnastics, and they have been entirely overlooked."
Thereupon I visited houses and institutions where men do
work with their fingers; viz: where carvers in wood and ivory,
in steel, copper and stone, painters and draughtsmen, watch-
makers and fine mechanists, spinners and weavers, printers
and compositors, etc. drive their trade; and after that, people
who are in the habit of writing a great deal, even throughout
a whole day, such as authors, copyists, clerks, stenographers,
lithographers as well as seamstresses and ordinary workwomen;
tn short, all those who depend upon their fingers for eatning
their living. Here I observed all kinds of finger diseases,
such as stiffness of the joints and limbs, writer's cramp, hands
and forearms debilitated in the highest degree, paralyzed limbs,
nervous weakness, etc. And these observances not oniy led
to careful investigation on my part, but convinced me that the
above mentioned drawbacks were directly brought about by
the following causes: first, that the fingers are the least exer-
cised of all the active members of the body, in the ordinary
occupations of life ; secondly, that they are relatively and
physiologically the weakest on that account; and thirdly p, that
they are also the only active members which are not gym-
nastically trained and treated; and in order to bring about a
radical change in this direction the movements of the finger4'
and wrist would have to be considered from an Anatomical
Physiological and Gymnastic standpoint.
X vVARD-JACKSON'S GYMNASTICS
Fo A owing these conclusions I forthwith began to experiment
in various ways, for the purpose of gymnastically exercising,
stretching and developing the muscles, ligaments and joints ot
the fingers and hands in all directions, in order to strengthen
and prepare them for playing the violin and piano as well as
other instruments, and for all kinds of finger-work and handi-
craft.
In doing so, 1 studied the physiology of the muscles and
ligaments, and directed especial attention to the transverst
metacarpal ligament. In Comparing this anatomy with thr
difficulties experienced, I sought to discover a means of stretch-
ing the ligaments or bands which run transversely across
the hands and knuckles more particularly. This I succeeded
in effecting and thereby discovered, to my gre?t astonishment,
that the moment I had applied my gymnastic movements to
these stout and very obstinate elastic bands, the muscles in-
stantaneously became looser, and moved with greatly increased
freedom and agility. To sum up: The muscles were set free.
Through these experiments and discoveries, the extraordrnsrj
difficulties of learning to play the piano or violin became sur-
prisingly clear to me. It cannot fail to become clear to all
when considering that these difficulties arise from the very
fact, that an art, the most complicated from a muscular point
of view, which we know of, has to be performed with the
least practised and proportionately the weakest of muscles.
The impediments and difficulties in almost all cases can be
traced to the muscles and it is this weakness whkh must be
overcome.
Following this, I visited anatomical, cliirurgical and medical
institutions, in order to study the anatomy of the hand, the
fingers and the arm in still greater detail. I found that the
muscles, the ligaments and the tendons of the fingers and hands
consist of elastic masses, intersecting the hand; and I especially
discovered, after a number of experiments, that the Trans-
FOR THE FINGERS AND WRIST. XI
verse Ligaments, unless they be exercised, remain quiet
and stiff, and to a certain extent, impede the movements
and activity of the muscles, when the latter are more than
Ordinarily exerted ; furthermore, that in order to exercise and
wretch them practically, and particularly the Transverse liga-
ments and tendons, and to render them strong and supple, it
is not only necessary to move the fingers up and down, but
also laterally; in short, that both muscles and ligaments ought
to be practised gymnastically; and that the fatigue and the
danger to health, the nervous weakness, and the disgust
often experienced by musical students arise from the follow-
ing causes:
Firstly, that the muscles, tendons and ligaments of the
\ And and fingers are proportionately the least practised, and,
consequently, as stated before, the weakest;
Secondly, that they have never been gymnastically trained
or treated;
Thirdly, that the methods now in use for strengthening
those weak muscles, and rendering them flexible, are insuffi-
cient and erroneous ;
Fourthly, that the transverse ligaments have never been
stretched ; thus, on these several grounds, hampering the
learning of music with unnatural difficulties, and with exertions
of the muscular and nervous system injurious to health;
Fifthly, that as soon as the muscles are properly and gym-
nastically exercised, and the ligaments and tendons stretched,
the fingers, set at liberty, move glibly and freely over the in-
strument, on the simplest anatomical and physiological grour.iU.
The idea, that there existed a ceitain deficiency or want in
the method of learning or practising music, as well as finger-
work of various kinds, presented itself to me and I set to work
to find a re.nedy for both. The exposition of my method
having met with cordial approval, the results of my labors
are now offered in a new fend cheap edition to artists, musicaJ
«11 WARD-JACKSON'S GYMNASTICS.
students and to all friends of music, as well as to all who are
dependent upon tta work of their fingers or who suffer from
finger disease; also to anatomists, physiologists, surgeons and
gymnasts ; indulging the hope that, if applied correctly and
carefully, they will go far towards removing the evils to which
I have alluded, and be of much practical usefulness and
advantage.
E. WARD-JACKSON, J. P.
I'M'J't'MMM'W
WARD-JACKSON'S GYMNASTICS
FOR THE FINGERS AND WRIST.
CHAPTER I.
Anatomy of the Hand. On Ligaments, Tendons, Etc., Etc.
A close study of the anatomy of the hand reveals to us
that it is made up of 27 different bones and its movements
made possible by 40 different muscles, combining firmness
with pliant flexibility in the most remarkable manner.
Owing to these qualities it is equally capable of executing
the roughest as well as the most subtle and delicate work,
its well calculated and highly developed mechanism form-
ing a fitting addition to that spiritual superiority through
which man has gradually raised himself to the proud po-
sition of ruler of the universe. Placed at the extremity
of each arm, the hand by means of its covering of skin,
presents itself as a highly developed organ of touch,
which, while movable in every manner and direction, in-
forms us at once as to size or physical peculiarity of any
object or material.
Regarding the system of gymnastic training of the fing-
ers in particular, which I am now placing before the
public, it is founded on an important fact namely, the
action of the LIGAMENTS and TENDONS.
It has been acknowledged at all times that in exercises
of this nature, the ligaments and tendons play an indis-
pensable part, although up to the present time, it has
2 WARD-JACKSON'S GYMNASTICS
never been sufficiently acknowledged nor explained.
Furthermore, it is generally known that, in playing the
piano, the principal method now in use of strengthening
and rendering the joints and muscles of the fingers flex-
ible consists in alternately raising and dropping the fin-
gers, and that this method requires great exertion, besides
consuming very much time. Now, by means of many
different experiments and exercises which I have made
with the hands and fingers, I have found that the tight
ligaments and skin-folds intersecting the hand trans-
versely, unless they be properly exercised, remain firm
and stiff, and for this very reason impede the movements
of the muscles whenever they are more than ordinarily
exerted ; contrary to this, the stretching of the transversal
ligaments produces a remarkable influence on the mov-
ability of the fingers and the hand, facilitates the work of
the muscles and imparts freedom, steadiness and precision
to them.
This result can only be explained by the fact that the
ligaments and folds of the hand having been stretched by
the cork cylinders (mechanical finger-exercises, chaptei
12) become loosened and in consequence, as I said before,^
release the muscles in their fatiguing work. If, on thy
other hand, all the muscles, ligaments and tendons are
put into motion in both directions, longitudinally and
transversely, they soon become strong and flexible.
FOR THK FINGERS AND WRIST.
CHAPTER II.
The Muscles of the Hand and Fingers.
Aside from the vessels and nerves, which are of no
rcportance in connection with our subject, we may de-
scribe the hand as being composed of three classes oc
organs :
r. Bones with joints.
2. Ligaments.
3. Muscles.
i. Bones with joints. — The hand is subdivided into
five separate limbs (fingers) lying at the side of each
other and being firmly joined together into one whole at
the lower end. Each of these five limbs is composed of a
number of bones, similar to the long bones. The first ol
these bones, next to the lower arm, and is called the
tnetacarpal or middle-hand bone (Fig. i a); the others
are called finger-joints. The thumb has only two finger-
joints, the other fingers three each. The fourth and fifth
fingers are the weakest of all.
The union of the five fingers into one whole is effected
by means of the extremities of the middle-hand bones,
commonly known as knuckles, which are turned towards
the forearm being connected with one another by very
tight transversal ligaments ( Fig. 2 aa and Fig. 3 bb ) and
being thus connected, are again fixed to a row of four
roundish bones, joined to one another in the same manner
(Fig. ib).
Thus, the five middle-hand bones and the four bones oi
the upper wrist form one firm structure. In this structure
the middle-hand bone of the thumb and of the little finger
possess more freedom of movement than the others.
Owing to the movability of these two extreme middle-
hand bones, it is possible to draw the two edges of the
hand close to one another, whereby the palm of the hand
assumes a groove-like shape. (See Figure 2).
4 WARD-T\CKSON'S GYMNASTICS
The structure here described (i. e. the hand) is con-
nected with the lower arm by means of three muscles
(the posterior row of the bones of the wrist Fig. i c).
The movement between these bones and the hand may be
likened to that of a hinge ; that between them and the
lower arm, however, is a movement in all directions. The
bending and stretching of the hand is, therefore, produced
with the participation oi both joints, the side movement
of the hand, however, almost exclusively by the joint
FOR THE FINGERS AND WRIST. 5
situated between the posterior row of the bones of the
wrist and the lower arm.
2. Ligaments. — All the finger-joints are provided with
capsules which are woven from or consist of strong trans-
versal fibres ( Fig. 3 aa ) . The bones of the wrist are con-
nected among themselves and with the bones of the
middle-hand by tight transversal and longitudinal liga-
ments, as seen in Fig. 2 aa bb. Lastly the two ends of
the middle-hand bones or knuckles, are connected with
one another and with the first joints of the fingers by a
separate, strong, transversal ligament (Fig. 2aa, 3bb).
WA D-J^JKSON'S GYMNASTICS
FIG- 3-
FOR THE FINGERS AND WRIST. 7
3. The Muscles of the Hand consist
I. Of muscles (four in number) emanating from the
lower arm and by means of which the wrist is bent up
and down, right and left. (Fig. 3cde).
II. Of muscles of the fingers. These are subdivided
into : — a) Extensors of the fingers, being situated in the
back part of the hand and emanating from the bones of
the lower arm. (Fig. 4a). b] Benders of the fingers.
Two muscles, the one for the second joints of the fingers
(Fig. 3d), the other for the first joints of the fingers and
the joints of the nails (Fig. 36) also emanating from the
bones of the lower arm. c) Contractors of the fingers,
emanating from the hand itself between the bones of the
middle-hand (Fig. 4b) and extending as far as the first
finger-joint (Fig. 4b). d] Two muscles, also emanating
from the cavity of the hand, making it possible to move
the little finger towards the thumb (Fig. 3g).
Rubricates, or Flexores primi Internodii Digitorium are
situated in the hollow of the hand and pass to their tend-
inous implantations with the interossei at the first joint of
each finger, externally and laterally, next to the thumb
( Fig. 4ab ) . These perform those minute motions of the
fingers when the second and third internodes are curvated
by the muscle,,, and therefore are used in playing musical
instruments, whence they are named Musculi Fidicinales,
or fiddle-muscles
WARD-JACKSON'S GYMNASTICS
CHAPTER III.
Effect upon the Muscles, Ligaments and Joints of the Fingers and the Hand
by means of the Gymnastic Treatment.
After the foregoing explanation, it may readily be con-
ceived what effects the placing of the cork cylinders be-
tween the fingers, and the use of the gymnastic staff will
produce upon the joints and ligaments of the hands.
1. The ligaments connecting the bones of the middle-
hand amongst themselves and with the fingers (Fig. 2a a)
are extended and stretched (Fig. 3 bb) and thus those
joints, so important in playing upon musical instruments,
are rendered more flexible.
2. The connecting links between the bones of the
middle-hand and those of the wrist are loosened. (Fig.
2bb).
3. Almost all the ligaments of the palm of the hand
are rendered flexible.
4. At the same time, all the muscles of the hand, and
particularly the muscles situated between the bones ( Fig.
4 b) generally exercised so little, are stirred into activity
by the cork cylinders, the staff and the free exercises.
As shown in the diagrams (Fig. 2 and 3) the above
mentioned fact will be plainly seen, viz : that the move-
ment of the middle-hand and of the bones of the wrist in
general is a very limited one unless specially practised; it
can be easily realized that this limited movement of the
bones will be rendered more easy through the gymnastics
with cork cylinders as explained in this work. These
same diagrams will also show, that if both the great and
small tight transversal ligaments remain still and firm,
they impede and render the free movements of the fingers
in every direction more difficult ; and as long as they are
not specially trained and exercised these ligaments will al-
ways remain stiff and tigM
For this reason t^e cork, cylind*?? exercise just men-
FOR THE FINGERS AND WRIST.
tioned, is particularly intended to loosen the impeding
transversal ligaments, as well as to exercise and strengthen
all the muscles of the hands and fingers.
As a proof of the correctness of this opinion, the fingers
should be extended for t\vo minutes only with the cylin-
CC
FIG. 4.
ders alluded to and it will be found that the fingers in-
stantaneously move more easily and the muscles, liberated
from their tight, stiff neighbors, act and move with much
greater freedom.
In the same manner as with the cylinders, xhe greatest
10 WARD-JACKSON'S GYMNASTICS
advantage will be experienced through the use of the
gymnastic staff or stick.
The principle upon which these movements are based
is, that through them almost all the muscles of the hands
and fingers — the smallest as well as the largest, bearing as
they do the chief part in playing upon musical instruments
and all other occupations — are stirred into action. At
the same time the extraordinary effect of the free exercises
upon the large finger joints, ligaments and tendons is in-
creased. Furthermore, every portion of the hand and
fingers, ligaments, tendons, joints and particularly the
muscles are well exercised, strengthened and rendered
flexible, owing to the fingers being stretched, pressed and
exercised upon a solid body. Finally, while imparting
greater strength and ease to the muscles of the fingers
and hand, than the continued quick movements on a
musical instrument is calculated to effect, all these exer-
cises affect the nerves in a less degree, and prepare the
fingers for all kinds of work.
These results, observed and tested by me countless
times, are of the greatest importance to all those who are
dependent upon the work of their fingers, but more par-
ticularly to those engaged in musical pursuits, and the
latter instead of being overwhelmed with fatiguing work
as before, will find that with the aid of these exercises
their studies are facilitated and divested of much of their
previous trouble and vexation.
THE WRIST.
This joint, which is of such great importance to players
upon the piano and other instruments, should also be
exercised gymnastically (Fig. 2 c); by means of the gym-
nastic exercises recommended herein, strength and flexi-
bility will be gained in a very short time, and a great deal
of trouble saved. Nor ought it to be overlooked that, for
all those who use their fingers in work as described above,
a flexible pliant wrist is a great help and that through it
all joints, of the hand are brought to act together har-
FOR THE FINGERS AND WRIST. 11
CHAPTER IV.
Neglect of the Hand and Fingers.
Many books have been written on gymnastics, but I am
not acquainted with one which treats of the gymnastical
exercising of \hefingers. Why these important members
of the human body should, until now, have been so much
overlooked and neglected, it is difficult to understand.
For, as Professor Richter of Dresden says, " Next to the
more powerful development of the brain, it is almost ex-
clusively the structure and skill of the fingers and hand
which raises man above the brute, and has made him
ruler of the earth.
Therefore, in order to heighten the capacities of the
human hand, the joints of the hand and fingers should,
from early youth, be exercised gymnastically as much
and in as many various ways as possible, partly by free
exercises, partly by means of mechanical appliances.
Gymnastics, according to anatomists and physicians, is
the stretching, extending, pressing, and training of the
muscles, the ligaments, and the limbs of the body.*
Flexibility, agility and strength can be acquired only
by means of regular exercise of the muscles of the body.
* The following quotations from the works of some of the leading
authorities may be of interest to the reader :—
" Methodical gymnastic exercises of the hand and fingers afford
the very best means of overcoming the technical difficulties."—
SCHMIDT'S "Annals of Medicine."
A gymnastic education is the best means for obtaining technical
skill and muscular steadiness." — P. M. LINK.
"The gymnast exercises his limbs through preparatory exercises;
how, therefore is it possible for the player of the piano and violin to
dispense with this gymnastic preparation of the joints of the hand and
fingers ? " — PROF. RECTOR v. SCHMIDT, President of the Royal Gym-
nasium"
" La souplesse et l'£tendue des poignets dependent du d^veloppe-
ment gymnastique des forces. La gymnastique deVeloppe 1'aisance
et la grace." — DR. M. BALLY.
" For so great an art as piano or violin playing, the muscles of the
fingers are weak ; they ought to be prepared by proper gymnastic exer-
"iSees." — FERGUSON.
12 WARD-JACKSON'S GYMNASTICS
Strength and power impart agility and quickness. This
every physician and every sensible man knows.
A soldier only becomes fit for his work after the muscles
of his body have been gynmastically attended to and
developed. Any man, having to perform hard physical
labor, must exercise his muscles gynmastically, and every
one ought to exercise those particular limbs the use of
which is most necessary in his profession.
And more than anyone else, the teachers of music have to
experience the consequences of want of skill and strength
in the hands of many students, and they know how greatly
a systematic educational training of the fingers and hands
for the execution of the more delicate movements is
needed. Nevertheless there are many arts besides music
for which the hand ought also to be trained from early
youth, in order to become proficient in different kinds of
handicraft, machine- work, needle-work, anatomy and
surgery, writing and drawing and all fine manipulations.
An untrained hand will either remain clumsy in these
branches of work, or it will soon fail through over-exer-
tion, which causes a peculiar kind of paralysis connected
with cramp, and well-known to writers (as the so-called
writer's cramp), but which also affects musicians, artists,
shoemakers, tailors, seamstresses and other working
people. Certain it is, that if this matter had been in-
quired into before, and public attention directed to it, a
great deal of trouble and vexation in learning music might
have been saved; the labor of many working people of all
classes, who are chiefly dependent upon the use of their
fingers, might have been greatly facilitated; and moreover
many diseases of the joints of the fingers and hand might
have been prevented.
FOR THE FINGERS AND WRIST.
CHAPTER V.
The Finger-Joints are the Least Exercised and the Weakest.
To become a skillful musician is no small matter. There
is no art which demands more labor, patience and especi-
ally more time, than for instance, piano or violin playing;
and at least half of that time is required for years for the
particular purpose of strengthening the muscles of the
lingers, 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 been gymnastically
exercised and trained beforehand.
In order to prove in a practical manner that it is par-
ticularly important to prepare the muscles and ligaments
of the fingers and hand, I will cite a fact which may ap-
pear startling, but which nevertheless is true, viz., that
the muscles and tendons of the fingers in spite of theii
great importance are, proportionately speaking, the least
of all practised in daily life.
Take all sorts of people from the laboring classes, such
as the smith, the joiner, the gardener, the bricklayer, the
stone-mason, the husbandman, the day-laborer, etc., etc.,
they are at work all day and acquire arms like steel and
muscles like giants'; but they very rarely use the fingers,
which, therefore, remain unexercised. And it is the same
with the educated classes, without difference of age or
sex.
This is the reason why the learning of piano and violin
playing is attended with such great difficulties and why
the muscles and ligaments of the hand ought to be trained
by proper gymnastic exercises. For their weakness, for
physiological reasons, arises from the very fact of their
inactivity.
I will prove this fact satisfactorily later on, as it forms
the basis and ke}T of all my researches and discoveries.
14 WARD-JACKSON'S GYMNASTICS
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 over-
come 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, th~
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 how
necessary it is to train the fingers before commencing the
work of the head. In short, what is wanted is a regular
gymnastic training for the muscles of the fingers, the joints
and the wrists ; and it will be found that the following exer-
cises, being as desirable as they are applicable for every
age, will strengthen and render them flexible in a most
surprising manner; will materially shorten the time of
study, and save much labor ; but nevertheless, the ordi-
nary finger-practice scales and studies, should NOT be
omitted.
Let us suppose a boy of from 10 to 14 years old, who is
strong and healthy, through gymnastics and other exer-
cises, sets out to learn the piano or violin. His body is
strong through the aid of gymnastic exercises, but his
wrist and fingers are weak and awkward. How is he,
with the method now in use, to succeed in playing an in-
strument well, without very long and wearying work ?
No wonder that the painful exertion almost makes him
despair, and that finally he gives up the thing altogether.
But if his fingers and joints have been gymnastically
trained and exercised beforehand, he will get on easily
and quickly, continuing his studies with pleasure.
FOR THE FINGERS AND WRIST. t>
Many teachers of the most celebrated gymnastic In-
stitutions have therefore determined to introduce these
exercises into their establishments, in addition to the
other branches of gymnastic training. Their practical
utility for all those who work with their fingers, for ana-
tomists, surgeons, sculptors, watchmakers, and many
others, is as evident as their salutory effect (from a me-
dical point of view, in curvature and paralysis of the hand
and fore-arm, in weakness of the muscles and nerves,
writer's cramp and similar complaints), is undeniable.
16 \\ iRD-JACKSON'S GYMNASTICS
CHAPTER VII.
Music is the Art which makes the Highest Demands upon the Muscles oi the
Fingers. Up and Down-Movement of the Fingers Insufficient.
For persons engaged in musical pursuits these exercises
can be dispensed with least of all, because music is the art
which makes tile highest demands upon the muscles of
the lingers and wrists.
The most eminent physiologists say: "Gymnastic exer-
cises for the fingers and joints ought to have been com-
menced 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 previous training of the muscles.
Certain it is, tl at it has been brought about only through
the incessant exertions and untiring, praiseworthy zeal of
the teachers, and the unceasing diligence of the pupils.
But how much easier this could all have been accomp-
lished. The muscles, sinews and ligaments, consisting of
soft elastic material, run partly in a longitudinal and
partly in a transversal manner. This is a point which
must not be overlooked. It is therefore a one-sided and
totally wrong idea, that the best method of strengthening
the muscles consists in simply raising the fingers and
dropping them again. All one-sidedness is detrimental;
and if the practising ir, brought about by simply moving
the fingers up and down, it will prove very tiring work.
But if on the other hand, the muscles are moved and
gymnastically exercised in all directions, and in accord-
ance with anacomical principles, they will become strong
and pliable in a short time,
FOR THE FINGERS AND WRIST.
CHAPTER VIII.
17
Artists and Teachers of Music,
If any one were to assert that he has diligently studied
the piano and violin according to the methods used at
present, and in course of time has learned and taught it
with the greatest success without having found it neces-
sary to trouble himself about any other system, my reply
would be 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 advancing strides during the last century
But just because music has become such a universal boon
to all classes of the civilized world, one ought to be so
much the less disposed to shut out new ideas respecting it,
no matter from which side they may emanate. The most
highly honored are those who have made the greatest
progress in theory and in practice, or who have readily
and generously acknowledged such progress from all
sides.
It is, therefore, the duty of all to assist teachers of music
and proficients as much as possible in promoting this
beautiful accomplishment; for this reason, encouraged by
persons of the highest distinction and influenced by the
love of art, I humbly venture to make known my
GYMNASTICS FOR THE FINGERS AND THE WRISTS,
and to offer to all who work with their fingers in general,
and to musicians in particular, a means which, based
upon physiological principles, leads most surely to the
attainment of artistic execution, and which in itself is so
simple that any child may use it ; a means too, which will
effect a great saving of time, and facilitate the work of
both teachers and students.
I have only to add that, as a matter of course, the fol-
lowing exercises, in order to have the desired effect, must
be carried out gymnastically and regularly, according to
18 VVABD-JACKSON'3 GYMNASTICS
the directions given and not otherwise ; whilst on the
other hand, they ought not to be carried to excess, nor
are they intended to supersede the usual finger exercises,
scales and studies,
The importance of an intelligent performance of the
various exercises is so great, and the necessity of impress-
ing it upon the pupil's mind so imperative, that it may be
well to sum up briefly, in the shape of a series of cautions,
the conditions of success :
1. Each exercise bas a definite object.
2. All exercises must be performed thoughtfully and
most of them slowly.
3. They must be performed exactly the prescribed
number of times.
4. They should produce a feeling of warmth and of
slight fatigue in the muscles exercised.
5. If the least aching or pain is felt it is a sign that the
exercise has been too vigorously performed.
6. The exercises must be performed by one hand at a
time, except where the contrary is expressly stated.
7. The object being to thoroughly train all the muscles
and to render the hand a perfect instrument, a great
variety of exercises is essential.
8. For the same reason the movements which differ
most from those performed at the key-board will probably
be found to be of greatest value.
9. The mouth must be kept shut and the head erect.
10. The best results are obtained by the oft-repeated
performance of easy exercises, not by any strain or effort.
These cautions must be constantly borne in mind both
by teacher and pupil.
FOR THE FINGERS AND WRIST. 19
CHAPTER IX.
Exercises for the Arm.
FIRST EXERCISE.
a) Stand upright, with the heels together and the toes
turned outwards. Stretch out the arms in front of the
body, with the palms of the hands facing one another*
FIG.
at the same moment let the hands be stretched and fingers
separated as widely as possible. See that the distances
between each pair of fingers are equal. As the arms and
20
WARD- JACKSON'S GYMNASTICS
hands are thrust forward count one ; retain the position
while counting two, three, if possible increasing the
stretch as shown in figure 53.
b] Bring the elbows back to the side of the body, bend
them, close the fist thightly and bring it in front of the
shoulder, so that the knuckles touch the body. As the
motion is performed count one ; retain the position while
counting two, three, pressing the fingers always more and
more tightly into the palm of the hand, as shown in the
following illustration :
FIG. 5b.
c) From this position stretch the arms out sideways
level with the shoulder, opening and stretching the hands
and fingers as in the first position, keeping the palms in
front. Count as before.
d] Return to the second position (d), still counting.
FOR THE FINGERS AND WRIST.
21
The actual motions should be rapid, but the rate of count-
ing should be slow, about sixty to the minute, so that the
whole exercise may be performed thoughtfully. Repeat
the four movements, a, o, c, d, first with the palms down-
wards, then with the palms upwards, and, finally, with
the backs of the hands together.
SECOND EXERCISE.
a) Stretch the right arm out sideways, as in the third
position of Exercise i, palms in front (Fig. i, a}.
d) Keeping the upper arm fixed, bend the elbow, half
close the hand and bring it up level with the ear, letting
it drop a little from the wrist, as shown in the following
illustration :
FIG.
r) Stretch out the right arm three times, with tne
palms first up, then down, and finally behind ; return
after each movement of position b.
Go through the same motions with the left arm. In
every case count one at the moment of performing the
exercise, and count two at the moment of rest. Should
22 WARD-JACKSON'S GYMNASTICS
the exercise be carelessly or incorrectly performed, the
period of rest must be doubled by counting three, as in
Exercise i. If performed properly this exercise is some-
what tiring ; it will be well, therefore, to practise the
arms separately, as recommended above.
VARIATION OF SECOND EXERCISE.
As a usual variation of this exercise close the fist when
the arm is stretched out, knuckles downwards, and open
it when the arm is bent; but in this case the hand must
not be stretched out tightly, but hang loosely from the
wrist.
THIRD EXERCISE.
Stretch the right arm out sideways, palm upwards.
Keeping the upper arm still, let the hand describe a circle
horizontally, with the elbow as centre, all the muscles be-
ing as relaxed as possible. When the hand is farthest
from the body the palm will be upwards, when nearest
the palm will be downwards. Repeat four times and
then reverse the motion. Go through the same motions
with the left arm.
FOR THE FINGERvS AND WRIST. 23
CHAPTER X.
Free Gymnastic Exercises for the Wrist.
FIRST EXERCISE.
Move the wrist vigorously up and down in a perpen-
dicular direction, from 20 to 40 times, first slowly, then
more quickly, and finally as quick as possible without
moving the arm or elbow. 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. These movements are shown in the following illus-
trations :
FIG. 7. FIG. 8.
SECOND EXERCISE.
Move the hand horizontally or vertically without mov-
ing the arm, as shown in figures 9 and 10.
To understand the practical utility of this exercise, it
should 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 be-
comes possible to move the hand at its root, independently
24
WARD-JACKSON \S GYMNASTICS
of the arm. The other jpint, the larger of the two, rises at
the elbow and is called the rotatory joint of the fore-arm.
Therefore, while holding all the five fingers close together,
FIG. 9.
FIG. 10.
move the smaller joint perpendicularly or horizontally,
as you please, without moving the arm in the slightest
manner and holding the elbow close to the body at the
same time.
THIRD EXERCISE.
Move the wrist in a slanting direction right and left, as
shown in the following illustrations, first slowly, then
FIG. II.
. 12.
FOR THE FINGERS AND WRIST.
25
FIG. 13=
26 WARD-JACKSON'S GYMNASTICS
quicker and quicker. Hold the elbows as before. Through
this movement both of the above mentioned joints will be
put into action.
Young violin players, who generally find the sideward
movements of the wrist of the right hand so difficult, will
derive great advantage from all these wrist exercises.
While holding the arm perfectly quiet, the hand or fist is
to be moved vigorously round in a circle, 20 times to the
right and 20 times to the left, as shown in figure 13,
first slowly, then more quickly. Through this exer-
cise all the muscles of the hand and arm will be put
into motion; and though the most difficult of all, this
at the same time, is one of the most important and bene-
ficial exercises.
All the various free movements of the hands and wrists
may be repeated many times with advantage ; still, by
simply performing them, short though they may be,
daily and regularly the prescribed time only, the desired
end of strengthening the muscles of the fingers and wrists,
and rendering them vigorous and flexible, will surely be
attained.
FOURTH EXERCISE.
Hold the hands quite loosely, palm upwards with fingers
and thumb bent, so as to form a hollow as shown in the
following illustration :
Fir;. i4a.
Turn the hands round on the wrists. «o that they will
coi/ie palm downwards an<^ with the t numbs together as
shown :«i the next illustration ;
FOR THE FINGERS AND WRIST.
FIG. I4b.
Repeat four times slowly and eight times quickly.
FIFTH
Clasp the Hands loosely together with the fingers inter-
laced and the right hand outside the left ; approach and
retire the wrists twelve times in the manner as shows: bj/
the following illustrations :
FIG. rsa.
WARD- JACKSON'S GYMNASTICS
FIG. 15b.
Repeat exercise with left hand thumb outside.
SIXTH EXERCISE.
Hold the left hand straight out with the thumb at the
top. With the right hand palm downwards, place the
FOR THR FlNGlvRS ANL) WRIST.
28
end of the middle finger against the centre of the palm of
the left hand, then keeping the left hand and consequently
the end of the finger against it still, and also the right el-
FiG. i6b.
bow still, alternately raise and depress the right wrist (ag
shown in figures i6a and i6b) four times very slowly
and eight times quickly.
Repeat, reversing the hands — i. e. bending the left
wrist. Where convenient this exercise may be done even
more easily by resting the finger-tips on a table ; care be
ing taken that the table is at the same height as the
elbow.
SEVENTH EXERCISE.
FIG.
WARD-JACKSON'S GYMNASTICS
FIG. ryb.
The motion here is similar to that of the sixth exercise,
but the hand is held sideways, and the wrist bent upwards
and downwards in that position.
FOR THK FINGERS AND WRIST. 31
CHAPTER XI.
Exercises for Stretching the Hand.
FIRST EXERCISE.
Close the left hand tightly, clasp it with the right hand ;
placing the right thumb over thumb, and letting the right
hand fingers lie upon the fingers of the left hand, the
small joints being bent round between the knuckles of the
left hand. The right wrist will now be pressed forward
against the left fingers, as shown below. (Fig- i8a).
FIG. i8a.
After carefully placing the hands in this manner, relax
the grasp, without letting go, and raise the right wrist, as
shewn in the following illustration. (Fig. i8b).
32* WARD-JACKSON'S GYMNASTICS
FIG. iSb.
Repeat ten times, rather quickly, taking care that the
second-joint knuckles of the left hand press into the palm
of the right. Repeat with the hands reversed.
SECOND EXERCISE.
Clasp the hands tightly, in the same way as in Fig. i5a,
having the right thumb outside. Let the finger-tips press
firmly into the back of the opposing hand. Straighten out
the fingers, still keeping them interlaced and the thumbs
bent. Alternately bend and straighten the fingers six
times*, taking special care that during both motions, the
fingers press one another firmly at their roots (close to
the large knuckles); this last is a very important point.
Repeat the motions with the left thumb outside.
THIRD EXERCISE.
Again clasp the hands tightly as in Fig. I5a, right thumb
outside. Relax the grasp and throw the hands apart to
a distance of about a foot. Alternately grasp and relax
eight times, but let the grasp always be firm, pressing the
fingers at the roots.
Repeat with left thumb outside.
FOR THE FINGERS AND WRIST.
33
FOURTH EXERCISE.
Stretch the hands out perfectly flat, making the fingers
even bend backwards a little, if possible. (Fig. 19).
FIG. 19.
Widen the distance between the tip of the thumb and
that of the little finger to the utmost extent, keeping the
other fingers at equal distances one from another.
Repeat frequently, fixing the attention upon the stretch
— first between the ring finger and thumb (the ring and
little finger will then be close together); next between
the middle finger and thumb (the middle, ring and
little fingers close together); and lastly, between the in-.
dex finger and thumb.
FIFTH EXERCISE.
Stretch both hands out flat, with the fingers bent slightly
backwards, left hand palm upwards, right hand palm
34
WARD-JACKSON'S GYMNASTICS
FIG. 20b.
FOR THE FINGERS AND WRIST. 35
downwards. Press the lump formed by the muscles av
the root of the right thumb into the hollow of the left
palm. (Fig. 2oa).
Keeping the hands rather bent back at the wrist, twist
them round, in opposite directions, through a quarter of
a circle and then back again. (Fig. 2ob).
Repeat six times. The same, with the position of the
hands reversed.
WARD-JACKSON'S GYMNASTICS
CHAPTER XII.
Free Gymnastic Exercises for the Fingers.
FIRST EXERCISE.
Stretch the fingers as much as possible, one from the
other (Fig. 2ia), letting them fall upon the large muscle
of the thumb (thumb-ball Fig. 2ib), and pressing them
firmly upon it :
FIG. 2ia.
FIG. 2ib.
remain for a moment in this position, and bring the thumb
against.the fore-finger 40 times up and down.
"xhis exercise, as well as several others, if vigorously
continued for three minutes alone, will be found to be
very fatiguing ; a clear proof that the muscles of the fing-
ers, although quite fit for ordinary daily occupations,
are, nevertheless, very weak and incapable when aii}^-
thing exceptional is demanded of them, and it is needless
to mention that without proper gymnastic training, they
must remain so.
FOR THE FINGERS AND WRIST.
37
SECOND EXERCISE.
The movement of the fingers, as shown in the following
illustrations (Fig. 22a and 22b)
FIG. 22b.
differs from the above described movements in so far
that, instead of falling against the large muscle of the
thumb, the finger tips must fall and press against the
middle of the cavity of the hand. To be repeated forty
times.
THIRD EXERCISE.
The following exercise (Fig. 233 and 23b) is intended
particularly for the small joints of the fingers. It is effec-
tive, but difficult.
The idea in this particular movement is not to stretch
the fingers away from one another, but to hold them close
together, as this brings about the particular effect to be
produced. 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, mov-
ing the large joints. Repeat this movement until you are
tired, which will not be long, thus affording another prac-
tical proof how weak the untrained finger-joints are.
This is also an excellent exercise for the thumb, provided
WARD- JACKSON'S GYMNASTICS
it is .tiade slowly and vigorously. It may also be made
with outstretched fingers.
I again repeat that no one who has not already tried
the above or similar exercises of the fingers, will be able
to continue them vigorously for even so short a time as
three minutes without experiencing painful fatigue. And
why? Because as I have demonstrated before, the joints
FIG. 233.
FIG. 23b.
of the fingers and wrists are exercised the least in the
ordinary occupations of life and are consequently the
weakest.
In view of these experiences and demonstrations, it will
certainly appeal to all that it is hardly advisable to teach
and continue the exercise of an art like music (which,
from a muscular point of view, is the most difficult of all),
with weak and untrained muscles, without having pre-
pared them previously by proper gymnastic exercises.
FOURTH EXERCISE.
Hold the hand upright with the fingers close together
and bent backwards a little so as to exercise the extensor
muscles. (Fig. 24a). Bring the fingers forward at right
angles to their former position, bending only the knuckle-
ioints. (Fig. 24b).
FOR THE FINGERS AND
FIG. 24a.
FIG. 24b.
Throughout this movement the thumb must retain a
slightly bent position, so as to avoid any involuntary mo-
tion in sympathy with the fingers. Repeat four times,
slowly and with both hands.
FIFTH EXERCISE.
FIG. 25.
40 WARD-HCKSON'S GYMNASTICS
^ Hold the right hand upright as in the preceding exer-
cise, but with the fingers not quite touching one another,
and bend one finger at a time forward from the knuckle
joint ; the motion will now only be through about an
eighth of a circle.
Be careful to avoid any sympathetic movement of the
other fingers or of the thumb; move each finger six times
and exercise with both hands.
SIXTH EXERCISE.
Holding the hand upright as in Fig. 24a, bend the fing-
ers forward from the middle joints, as shown below:
FIG, 26,
It is impossible to avoid bending the end joints also,
but the exercise must be done very slowly and thought-
fully so as to reduce the motion of these to a minimum
The large knuckle-joints must be kept straight. Repeat
four times, with both hands.
FIG. 27.
SEVENTH EXERCISE.
Again holding the hand as in Fig. 24a, bend the index
finger forward from the middle joint, taking care that
the other fingers and the thumb remain unmoved.
FOR THE FINGERS AND WRIST.
41
Repeat four times, and then do the same with the other
fingers in succession. The ring finger will probably
move only half as far as the others. Exercise the left
hand in the same manner.
EIGHTH EXERCISE.
A
FIG. 28a.
FIG. 28b.
Place the hands as in Fig. 28a, the left hand fingers
projecting about an inch beyond those of the right hand
Bend the left-hand finger tips very slowly, using only the
end joints (Fig. i6b).
Repeat six times, then reverse the hands.
NINTH EXERCISE.
This is the same as the above exercise (No. 8), but each
finger is to be moved separately, from the end joints,
six times backwards and forwards.
42 WARD-JACKSON'S GYMNASTICS
TENTH EXERCISE.
Stretch the hand out flat as in Fig. 24a. Separate as
widely as possible the index and middle finders, keeping
the middle, ring and little fingers close together.
Do the same, having the space \ irst'betvveen the middle
and ring fingers (Fig. 29) the most difficult position; and
then between the ring and little fingers.
FIG. 29.
Separate the index and middle fingers simultaneously,
and then the ring and little fingers, keeping the middle
and ring fingers close together.
ELEVENTH EXERCISE.
Hold the right hand with the fingers separated and bent
at the middle and end joints, as shown below:
FIG 30.
FOR THK FINGERS AND WRIST.
Move the middle finger slowly from side to side six
times so that it touches the index and ring fingers alter-
nately. Then move the ring finger in the same way so
that it touches the middle and little fingers alternately.
The knuckle joints must be kept straight, the thumb
muscles relaxed and all sympathetic motion of the thumb
and of the index and little fingers avoided.
Exercise the same with the left hand.
TWELFTH EXERCISE.
Place the hands with the palms, fingers and thumbs
firmly pressed together.
FIG. 31.
Bend the end joints of the fingers, keeping the palms
together and the thumbs straight.
Repeat six times.
WARD-JACKSON'S GYMNASTICS
THIRTEENTH EXERCISE.
Hold the right hand open but with the muscles slightly
relaxed (Fig. 32a).
FIG. 32a.
Stretch out in such a manner that the fingers and thumb
project slightly backward from the line of the hand ( Fig.
32b) the fingers not quite close together. Repeat six
times. The same with the left hand.
FIG. 32!).
Where it is convenient this exercise should be done at
a table; the palm of the hand being pressed firmly down,
and then the fingers and thumb raised above the level ot
the table.
FOR THE FINGERS AND WRIST. 45
FOURTEENTH EXERCISE.
The same as Exercise 13, but with each finger straight-
ened separately. Special care is needed in order to keep
the whole of the palm and the whole length of the fingers
not being exercised, pressed flat upon the table.
FIFTEENTH EXERCISE.
Stretch the little finger of the right hand so that it
touches the palm, as near the wrist as possible. (Fig. 33a).
.. FIG. 33a.
The other fingers will be more or less bent, but their
tips must not touch the palm. Following this movement,
draw the little finger tip along the hand until it is as close
as possible to the root, as shown in the next illustration
(Fig- 33b).
FIG.
Repeat this movement six times. Treat the other fing-
ers similarly but naturally the tips of these will not ap-
proach their roots so closely as did the tip of the little
finger. The same with the left hand.
46 WARD-JACKSON'S GYMNASTICS
SIXTEENTH EXERCISE.
Hold the right hand as in Fig. 24a, but with the fingers
slightly separated. Keeping the index finger straight,
bend the other fingers from the second joints and also
bend the thumb, as shown in the next illustration :
FIG. 34.
Repeat six times. Then keep the middle, ring and
little fingers straight, in succession ; when the ring
finger is kept straight, the others must be only slightly
bent. The same with the left hand.
SEVENTEENTH EXERCISE.
Hold the right hand out so that the ami and the back
of the hand form a straight line as far as the knuckle
joints, the fingers separated and hanging loosely.
Aaise the fingers so that the second joints are higher
than the knuckle joints.
Repeat six times and the same with the left hand.
EIGHTEENTH EXERCISE.
The same as exercise seventeen, but each finger lifted
separately.
FOR THE FINGERS AND WRIST.
NINETEENTH EXERCISE.
47
The last free exercise for the finger-joints which I will
recommend here, consists in moving all the fingers and
the thumb, one after the other, stretching them far away
from one another like claws.
FIG. 363.
FIG. 36b.
This movement of alternately bending and raising them
can take place in whatever direction you please and as
long as you feel inclined or are able, but always vigor-
ously.
48
WARD-JACKSON'S GYMNASTICS
CHAPTER XIII.
Free Gymnastic Exercises for the Thumb.
Although it is not easy to prescribe complete gymnastic
exercises for the thumb, the following, if vigorously pur-
sued, will nevertheless prove very effective.
FIRST EXERCISE.
FIG. 37a.
Stretch the fingers as far as possible away from one
another, then press the hand firmly together, the thumb
oeing held fast in the cavity of the hand ; continue for a
moment in this position, and then repeat the same move-
ment, alternately opening and closing the hand.
SECOND EXERCISE.
Hold the fingers close together, stretch out the thumb,
and then perform a circular movement with the latter,
FOR THE FINGERS AND WRIST.
49
inside the hand, first 20 times to the right then' 20 times
to the left ; to be repeated again and again.
FIG. 38.
THIRD EXERCISE.
FIG. 39.
Take hold of the thumb of the one hand with the fing-
ers of the other, or with the whole hand, and shake it 01
bend it to its root, without^however, overdoing either.
50
WARD-JACKSON'S GYMNASTICS
FOURTH EXERCISE.
Place the tip of the right hand thumb and that ol the
little finger together, as shown below.
FIG. 40.
Move the former slowly backward and forward six
times from the tip of .the little finger to its root. Repeat
with each finger in succession ; but in the case of il".e
index and middle fingers, the tip of the thumb must be
brought down only as far as the second joint.
The same with the left hand.
FIFTH EXERCISE.
Hold the right hand flat, palm in front, as below:
FIG. 4ia.
FOR THE FINGERS AND WRIST.
51
FIG. 4lb.
Keeping the fingers and the palm straight, move the
mass of muscle which lies at the root of the thumb so
that it may be completely over the palm. Repeat six
times, stretching the mass of muscle so that it in-
creases the breadth of the hand as much as possible (Fig.
4ia). The same with the left hand.
SIXTH EXERCISE.
Hold the right hand as in Fig. 4ia. Then move the
mass of thumb muscle forward, and slightly inward, so
that it projects as much as possible (Fig. 42).
FIG. 42.
Repeat six times ; the same with the left hand.
52 WARD-JACKSON'S GYMNASTICS
CHAPTER XIV.
Mechanical Finger-Exercises with the Aid of Implements.
FIRST EXERCISE.
Take three cork cylinders for each hand, about three
quarters of an inch long, and from one-half to one inch im
diameter, according to the size of the fingers ; place theai
between the upper ends of the fingers, and while gradn-
ally and conveniently extending the muscles, by bending
the fingers, move the latter, as shown in the following
illustrations, number 43 and 44.
FIG. 43. FIG. 44.
Move the cylinders further down, to the roots of the
fingers, and perform the exercises according to the
following illustrations, number 45 and 46.
In doing this, place a small round piece of wood be-
tween the thumb and the fore-finger, at a suitable dL-
tance, which will extend the former as much as possible.
Following this exercise, put a large cylinder between
the thumb and the fore-finger, while leaving the other
fingers as before, and place it in such s. manner as to
entirely fill up the intervening space. (F%. 47 and 48).
FOR THE FINGERS AND WRIST.
53
FIG. 47-
FIG. 48.
in doing this, be careful to extend the thumb as much
as possible. In case the tension of the fingers is small,
take smaller cylinders : or if the latter should be too hard
for tender hands, cover them with some soft substance,
such as velvet, or the like.
Perform all these exercises vigorously, and, if possible,
just before practising the musical instrument, twice 01
three times daily, each time for a few minutes, especially
in the morning, after arising. As a matter of course,
after eight or ten hours' rest, the muscles of the fingers
and wrist, like those of the rest of the body, are somewhat
s*iff, and ought to be prepared by proper gymnastic exer-
cises, before beginning to play. Besides, provided ove*
54 WARD-JACKSON'S GYMNASTICS
exertion be avoided, there is not, according to the best
medical authorities, the least danger to be apprehended
from these exercises, for the joints and muscles of even the
very smallest hands.
If players of the piano and violin should argue that, in the
act of playing, the fingers need not be so much extended as
prescribed here, or assert that the finger-exercises, scales,
and etudes as used at present are perfectly sufficient, and
that nothing more is wanted, I can only repeat, that the
flngeis must be prepared in order to render them strong
and flexible ; that, for this purpose, it is necessary to
exercise them gymnastically , and that, as I have explained
before, these preparatory exercises will save much time
and trouble, and facilitate the work of both teachers and
pupils ; further — that, by the diligent practice of these
gymnastics, the fingers become elastic and independent
of each other; through continuous exercising of this kind
the player will acquire complete control over them, and
when this has finally been accomplished, they can be
moved and employed entirely at will.
Another most effective mode of stretching and loosen-
ing the tendons and ligaments which encompass the large
middle-hand bones, or "knuckles," may be performed
as follows : —
Place the fore-finger of each hand, up to the middle
joint, firmly on the table and in that position press it up
and down with a certain degree of force, for a few seconds;
then withdraw it, and apply the next finger in a precisely
similar manner; then the two other fingers in succession,
each finger remaining on the table alone, unaccompanied
by any other.
Afterwards, apply the 2nd and 4th together, exactly in
the same way, for a few seconds; then the 3rd and 5th ;
lastly the thumb.
The pupil may do this many times a day with great ad-
vantage : for by this process the ligaments and tendons of
the knuckles are stretched and loosened, and the muscles
are set free.
Of course always with due moderation.
Another very important exercise, bearing chiefly on the
tendons and ligaments of the large metacarpal joints or
knuckles, is the following : "
FOR THE FINGERS AND WRIST. 55
Take hold of one finger of a hand with the thumb and
.ore-finger of the other, and bend it up and down vigor-
ously, to its root, for one minute. Then exercise the
other fingers in succession in like manner. To be applied
equally to both hands, and to be done, especially with the
4th and 5th fingers, separately, as often as leisure permits.
To this category belongs also another exercise of the
metacarpal joints or knuckles. Into the palm of one out-
stretched hand place the closed fingers or fist of the other;
then open and close the latter as fast and as long a time
as is agreeable, always continuing to press upon the palm.
Change hands and repeat. It must always be remembered
that the difficulties of bringing the fingers into order, lie,
physiologically, almost all in the middle-hand bones or
knuckles ; and as the five preceding exercises, — and
especially the three last — act in a very efficient and par-
ticular manner upon the ligaments, tendons and muscles
of these joints, they cannot be taken up and gone through
too often.
Owing to the entire inequality in strength and flexi-
bility of the fingers, it is not sufficient by any means to
develop them simply with the aid of ordinary finger-exer-
cises and scales. As has been shown and proven in the
opening chapters, and in the anatomical representations
of the hands, all the fingers are not equally strong ; for
instance, the 4th and 5th fingers are, by nature, much
weaker than the others, and it is necessary to remedy this
inequality.
Each finger ought, therefore, to have gymnastic exer-
cises for itself ^ and they ought to be performed on some
solid body, which can be firmly grasped. For this pur-
pose take a round staff, from 12 to 18 inches long, and
one-half to three-quarters of an inch thick, on which, at
a proper distance from one another, round indentations
are made, and into which the fingers are to be placed
after the manner illustrated in the following figures.
WARD-JACKSON'S GYMNASTICS
DIRECTIONS.
Place the thumb of each hand on one side
and the four fingers very firmly fixed on the
other side of the staff; raise one finger as high as
possible, and let it fall down vigorously, like
a hammer, twenty times in succession, while
thethr&; remaining fingers, stretched out from
one another, like claws, remain immovable. In
the same way exercise the other fingers; firmly,
slowly, vigorously, and immediately after the
cylinder exercises just described. Repeat this
three times daily, each time for five minutes,
altogether for fifteen minutes a day, but the
oftener it be done the better.
Those playing the piano need not confine
themselves to one particular exercise, but may
make use of all the figures at pleasure.
FIG. 49.
FOR THE FINGERS AND WRIST.
58
WARD-JACKSON'S GYMNASTICS
FOR THE FINGERS AND W1UST. 01
For violin playing, the fingers of the left hand may also
be trained as shown in the following illustration.
FIG. 54.
Suggestions as to additional exercising in the above manner.
After the cylinder, by far the most effective of all
means for imparting strength and flexibility togethei
with evenness of vigor, individuality and independence
to the fingers by means of gymnastic exercises, is to
take the above named staff, or, indeed, a smooth round
stick, 18 inches long and one-half to three-quarters of an
inch thick or any ordinary walking stick and to perform on
it daily, either in a room, or while walking, in the following
manner: — With the -four fingers of one or both hands
firmly pressed and stretched upon it, raise one finger as
high as possible, and, as above stated, let it fall down
upon it vigorously, like a hammer, twenty or thirty times
in succession, while the other fingers remain firmly pressed
on the stick, then in couplets with the 5th and 4th fingers,
then with the 4th and 3rd, then with the 3rd and 2nd,
twenty times each, the two fingers, in all cases, as stated,
lifted as high as possible, and the others remaining, stretch-
60 WARD- JACKSON'S GYMNASTICS
ed at even distances, firm upon the staff; finally, with the
four fingers of each hand, twelve times ascending and
twelve times descending, but always slowly, energetically,
with firm pressure, "and in time."
You may occasionally practise a little faster, but it must
be the exception. Slow moving, pressing, and stretching
should form the chief gymnasting rule.* This staff may
\& perfectly plain or indented.
In a similar
manner all sorts of difficult muscular
movements and passages upon the staff may be practised,
slowly and with energy, with one or with both hands. For
example : —
FIRST SERIES. In couplets twenty to thirty times each
in succession, with the 2nd and 4th fingers, alternating,
afterwards, with the 4th and 2nd; then with the 3rd and
5th fingers; alternating with the 5th and 3rd; in each case
the two fingers stretched wide apart, and the other fingers
pressed upon the staff.
SECOND SERIES. In couplets twenty to thirty times each
in succession, with the 2nd and 3rd fingers, first close to-
gether, then wide apart, afterwards alternating, in the
same way, with the 3rd and 2nd. With the 3rd and 4th
fingers, first close together, then wide apart, afterwards
alternating in the same way. with the 4th and 3rd. With
the 4th and 5th fingers, first close together, then wide
apart, afterwards alternating in the same way, with the 5th
and 4th. In each case slowly, the two fingers lifted as
high as is convenient, twenty to thirty times in succession,
and the other fingers firmly fixed upon the staff. Lastly,
all the four fingers together, in each of these varied and
different directions.
The number of times of each movement, and the
duration of time, also whether all should be gone through
at the same time, or otherwise, is left to the discretion of
the teacher and pupil. I would recommend, at first, the
selection of three or four modes or exercises, for per-
sistent practice, to last over a given period of time, then
to change to others.
*The late Mr. dementi was celebrated for the perfect evenness and
beauty of his touch in playing rapid passages on the piano. The means
by which he attained this execution he was unwilling to disclose.
It is now known that he effected it by playing his scales very slowly
and with great pressure of each individual finger (see chapter XIX).
FOR THF, FINGERS AND WRIST. 61
But the regular exercising of the whole or part of them,
daily, will, in a comparatively short time, most surely im-
part immense strength to the muscles and joints of the
fingers and render them flexible; if the directions are duly
followed, it will enable perfectly equal and even fingering,
and render the fingers entirely independent of each other.
But let all be done with due moderation and not be driven
to excess.
On no account, should this gymnastic staff, or walking
stick exercise, however simple it may appear, be omitted
for a single day. It produces a most surprising effect if
carefully and vigorously made; an eifect which will be the
more remarkable in proportion as the fingers are pressed
and stretched far away from one another. By this means
all the various mrscles, and even the tendons, joints and
lingameifts are pv.t in motion, and both fingers and nerves
are rendered strong and firm. Besides, no time need be
lost; as in performing these exercises you may converse or
engage in other occupations. *
In this manner, also, the qth finger may have a special
training, and become equally strong with the others.
This finger is, on phyisological grounds, the weakest of
all, and after a number of vain attempts at remedying its
well-known weakness, some physiologists in Germany
have gone so far as to suggest the idea whether it would
not be well to cut the ligament joining the two fingers, in
order to set the 4th finger free.
But it is unnecessary to have recourse to such rude and
unnatural measures; the natural weakness of the 4th
finger may be effectually remedied, and may be entirely
overcome, by the above exercises.
These exercises may be partially performed on musical
instruments; but they are far more effective if made as
directed; because the fingers, in having a resting point, or
lever; and having something firm to grasp, are enabled
to perform them gymnasticcttly.
Moreover, such admirable instruments as a piano,
violin, as well as the other members of the string family,
ought not to be used as purely gymnastic implements.
* It was often related by the celebrated violin-virtuoso Bernard
Molique, that he had frequently gone through and practised a solo
upon a stick shortly before performing it in public.
62 WARD-JACKSON'S GYMNASTICS
To do away with such improper usage the fingers and
joints ought first to be gymnastically exercised before the
playing proper is gone ahead with.
To achieve satisfactory results the mind and fingers
should work together as one, but how is this possible if
the latter are entirely neglected as regards preparatory
training. The mind strives forward and the untrained
fingers keep it back. There can be no reason why such
an unsatisfactory state of affairs should be tolerated, an,
if only the fingers will first be properly trained, the mind
and fingers will be found to act in a most simultaneous
manner.
Another great advantage to be derived from the above
exercises is, that the organs of hearing are spared.
Many persons, who zealously and perseveringly perform
finger exercises on musical instruments, injure their
health, through the irritation of the auditory nerves, to
such a degree as either to be prevented from continuing
to practice or otherwise to be subjected to serious con-
sequences; whereas, if the exercises are preceded by the
gymnastic movements given above, the pupil's organ of
hearing will be greatly spared and not injured in any way.
The greatest technical art consists in controlling alike
the fingers, the joints and the nerves. Now, if the muscles
and tendons are exercised and strengthened by proper
physical work, the nerves will be invigorated at the same
time. This is a well-known fact, and for those engaged
in musical pursuits constitutes an advantage which it is
impossible to overrate. Through this preparatory work
the fingers will not be fatigued as easily as before, and the
habit of completely controlling them is acquired at the
same time.
Nor ought another advantage to be overlooked; viz.,
that in regard to musicians forced to travel, or who from
any other causes are prevented from playing or practising
for a length of time, they will be enabled, in the manner
•described above, to exercise their fingers and joints
efficiently for a short time daily. Thus they will be pre-
vented from getting stiff, and mastery over them will
always be retained.
However, to attain this end,- the exercises with the stick
must not be performed carelessly, but gymnastically, and
FOR THE FINGERS AND WRIST. 63
strictly according to the directions as given above. Many
of these exercises will be found very useful for violin
players, by promoting the proper bending of the fore-
finger of the left hand.
On the whole, all of the above shown exercises are
equally fit for all persons playing the piano, the organ,
the violin, violoncello and other instruments; and they
will find that after having accustomed themselves to per-
form them vigorously for a short time every day,
they will be able to manipulate upon their chosen instru-
ment with such strength and individuality of fingers as
will exceed their utmost expectations. ,
64 WARD- JACKSON'S GYMNASTICS
CHAPTER XV.
Board for Stretching the Muscles, Especially Those of the Thumb
and the Little Finger.
Take^a board, about 22 inches long, 4 to 5 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 a table, have a little ledge glued on to one of its
sides, as in Figs. 55 and 56.
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, set them in motion,
while holding the thumb and little finger firmly in their
Dlaces.
FOR THE FINGERS AND WRIST.
65
66 WARD-JACKSON'S GYMNASTICS
CHAPTER XVI.
On Stringed Instruments in Particular.— The Wrist of the Right Hand.
The following mechanical gymnastic exercises are in-
tended for 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 fore-arm 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 play-
ing the violin arise from the wrist. This is chiefly owing
to the circumstance that, in playing the violin, the side-
ward movement of the wrist is a peculiar one, being, in
fact, totally different from any other movements taking
place in the ordinary occupations of life. If, therefore, it
be desired to diminish the painful work, as customary at
present, it is indispensable to prepare the wrist and arm by
exercises like those we are about to describe.
Take, three times daily, and particularly early in the
morning, a light stick or cane, exceeding the length of a
violin bow by 8 — 10 inches, holding it in your right hand
the same as a bow; lay it on the left hand — which is to be
raised to the same height as if playing the violin or
violoncello — and move it vigorously up and down as
follows: —
1. The entire length, thirty times.
2. The middle length; with the fore-arm and wrist
only, without moving the upper arm, thirty to forty times.
3. At the nut; with the wrist alone — and especially
the up-stroke — with energy; without in the least moving
the arm, thirty to forty times.
4. At the extreme tip; with the wrist alone, and with
pressure; without in the least moving the arm, thirty to
forty times.
Move the cane alternately up and down, pressing it with
FOR THE FINGERS AND WRIST. 67
the thumb and fore-finger, and look at the direction of
the wrist and the stick or cane. With this cane you may
exercise gymnastically, at pleasure, up and down strokes,
triplets, and all sorts of bow movements. The result, if
properly and conscientiously practised, will be found a
surprising one.
These exercises are particularly useful for the student.
As a matter of course, they can also be partially made
with the bow, but not with the same results.
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 de-
scribed 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 end of a long
and rather heavy Apenstock, and work it vigorously up
and down, like a bow upon the left hand (upheld near the
chin) in the following manner:
1. With the whole arm from the elbow, up and down,
with the stick, thirty times.
2. With the middle length of the stick, up and down,
twenty- five times.
3. With the stick as near as possible at the lower end,
with the wrist alone, and without in any way moving the
ann, thirty times.
4. Ditto at the upper end, with the wrist alone,
especially for the up-stroke, without in any way moving
the arm, thirty times.
68 WARD-JACKSON S GYMNASTICS
CHAPTER XVII.
On Stringed Instruments in Particular.- The Wrist of the Right Hand.
This exercise, on anatomical grounds, products a con-
siderable effect on the muscles and sinews of the wrist and
the fore-arm, in imparting to them the wished-for strength
and flexil lity.
Beside?, it is a well-known fact that, having handled a
heavy object, it is more easy to skillfully handle a light one.
If in any way objections should be raised as to the last-
mentioned gymnastic exercises, they being of rather a
rough kind, and tending to spoil the elegant stroke, it
may be satisfactorily answered in so far that these so-
cailed rough exercises only last a very short time every
day and are undertaken for the special purpose of render-
ing the arm and wrist strong, easy, even and flexible.
Indeed, if those right-hand exercises are made carefully
and according to directions given, a short time every day,
they will strengthen the wrist of the right hand, and
render it pliant and flexible to such a degree, as to enable
persons, in a comparatively short time, to play with the
wrist almost as vigorously as with the arm.
There is, moreover, another advantage attending these
exercises, viz., that if continued for sotne weeks only and
for a few minutes daily, they will soon aid the student
in acquiring the correct and proper position for the arm,
necessary for the playing upon stringed instruments.
FOR THE FINGERS AND WRIST.
CHAPTER XVIIL
Continuation.— Staccato.
A famous German violinist once remarked to the
author, "I find that staccato playing is the best exercise
i'or bowing, but I can't say why." The reasons for this
are easily apparent and lie in the fact that, by frequently
playing with the end of the bow, or with staccato strokes,
the muscles of the wrist are put in motion, and consequent-
ly subjected to gymnastic training, through 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
agile\ and the reason why the student finds this stroke in
most cases so difficult is, that the wrist has not been
specially trained and prepared, in consequence of which
it remains weak and stiff.
It ought to be remembered that in almost all kinds of
handiwork in daily life, the whole arm is active and in
motion, and very rarely the wrist alone. With musical
instruments, on the contrary, and particularly in playing
the violin, it is necessary always to use the wrist, and it
is impossible to play well unless the wrist has been render-
ed strong and elastic. It is, therefore, absolutely indis-
pensable that proper gymnastic exercises should be gone
through with the wrist, in order to properly prepare it.
In other words, the wrist ought to be accustomed to
move of itself, and the student ought to perform all kinds
of movements calculated to impart pliancy and strength
to it. It will then soon become free and easy, and the
student will, in the course of time, acquire the strongest,
most elegant and artistic stroke.
Not a single one of these practical gymnastic exercises
ought to be despised on account of its simplicity. Only
try them, and they will be found very effective. All
artists and teachers in favor of advancement, will favor
70 WARD-JACKSON'S GYMNASTICS
every practical means for technical improvement and
consider it their duty to welcome any assistance calculated
to diminish and render lighter the arduous toil, besides
shortening the valuable time required for becoming
proficient in music.
FOR THE FINGERS AND WRIST. 71
CHAPTER XIX,
Concluding Remarks.
In conclusion, it must be borne in mind, that it is not
well to continue too long with the same gymnastic
exercise, but to offer the muscles and joints a change
through taking up different exercises; a change of this
kind will be found both agreeable and advantageous, and
if, therefore, the student be tired of one exercise, he
should begin another.
Besides, if the fingers are fatigued or over-exerted 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 new and
easier movement; for be it remembered, "these exercises
are not irksome, but recreative."
To sum up : No student ought to begin to learn to play the
piano, violin, or other musical instrument, or even to
engage in any work or occupation requiring a strong and
flexible hand, before having set the joints of his fingers
and hands in order, by means of preparatory gymnastic
exercises; and he ought to continue the same from day to
day.
Let it ever be borne in mind that much rapid playing
is injurious to the muscles and nerves, while, on the other
hand, slow exercises and studies invigorate them.
To borrow an illustration from the animal world; take
the race-horse, the fleetest animal which we use in this
country, whose great task requires that his muscles
should be brought to the highest point of strength and
flexibility. Do you suppose that, in training and pre-
paring him for the race — a process often extending over a
considerable period — he is, in the course of it, sub-
jected to much galloping ? By no means ! Galloping
forms the exception, and, during this long interval, walk-
ing, trotting, and cantering, form his chief training paces
78 WARD-JACKSON'S GYMNASTICS
that is, foui -fifths or seven-eighths of the time ! galloping
only one-fifth or one-eighth part ! His skillful trainer
knows that much rapid exertion, such as galloping, long
continued, weakens and wears out his muscles. So, also,
in the hunting field and on the road, it is "the pace that
kills." Even so with the player upon a musical instru-
ment; long continued, rapid movements wear out the
muscles and shake the nerves, while slow exercises, how-
ever vigorously executed, invigorate and stre' jgthen both
(See Chapter XII', note on CWJMENTI.)
Atid here let Die avail myself of this opportunity to
raise a question for careful consideration as regards that
part of the violin bow, against which the thumb of the
right hand is brought to bear. Why, let me ask, should
this little sharp projection be permitted to remain in every
nut of the bow, preventing as it does the firm and steady
placing of the thumb, when it could be improved to such
a great extent by being rounded off &&&. allowing the thumb
to be placed entirely inside and obtaining a square and
lecided hold of the stick. Emil Kross, one of our re-
presentative modern authorities on violin playing, recom-
"uends and proves the excellence of this idea in his admir-
able work, "The Art of Violin Playing," demonstrating
that not alone is the firm hold upon the bow doubled with
it, but that o'n the other hand, more freedom is gained
in using every particle of hair in the bow.
FinaUy, I repeat that, in performing any of these
gymnastic exercises, the principal condition to be adhered
to, is that they should always be gone through in the
morning, also immediately before playing, and that while
is imparted by strictly following out the
vigor
given directions, any over-exertion should be avoided.
As to the claims of the author himself, they are limited
to an earnest desire that his "Gymnastics of the Fingers
ind Wrist," founded as they are upon anatomical and
physiological principles, may find favor with the public
at large, and be instrumental in promoting the best in-
terests of art.
THE END.
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