Discovering the ‘Unconfined’ Hand

Abstract

The perception that ideal hand size and finger length are crucial for piano playing still exists. The view that perceives small hands and short fingers as hindrances, or even as a 'disability,' as Harriet Cohen described in her book Music’s Handmaid, is not confined to just laypersons; some within the musical community also share this sentiment. Pianists with smaller hands face unique challenges, such as spanning certain intervals and maintaining precision during jumps. Yet, it would be unjust to overlook the accomplishments of celebrated pianists known for their small hands, such as Myra Hess, Alexander Scriabin, Daniel Barenboim, Alicia de Larrocha, Josef Hoffman, and Harriet Cohen. When examining their contributions to the performance canon, no one could assertively say that their performances were hindered by their hand size.

This research serves two objectives: firstly, to explore the potential strengths and capabilities of pianists with smaller hands, offering fresh insights for those who feel physically confined; and secondly, to verify the practicability of performance techniques recommended in earlier studies. The study will address four critical inquiries: Do factors other than innate talent assists these pianists in navigating challenges associated with smaller hands? How does their rendition vary from those with larger hands? What insights can their journey provide? Might pianists with larger hands encounter their own set of challenges, one that smaller-handed pianists might help to solve?

The methodology for this research is divided into three stages. First, the selection of pieces often seen as particularly challenging for small-handed pianists, with a focus on Rachmaninoff's preludes and Chopin's etudes. This selection is key, as it targets technical difficulties that are not easily resolved through standard practice or chord adjustments. It also incorporates Chopin's own pedagogical insights, which are applicable to the interpretation of other composers such as Rachmaninoff. The second stage encompasses an analysis of recordings by renowned pianists, observing specific techniques suitable for smaller hands and drawing comparisons between pianists with varying hand sizes. The final stage includes conducting interviews with instructors and pianists experienced with small-handed techniques, culminating in a performance that encapsulates the research findings and demonstrates adapted playing methods for small hands.

The research’s culmination will be a comprehensive portfolio, encompassing observational tables, a collection of video segments that track my own progression (inclusive of pre-research footage for comparison), and a reflective essay resonating with both the investigative journey and prior academic works. While current data might not decisively confirm our ability to transcend perceived physical limitations, it certainly nudges us towards further exploration. I still believe one day we will be able to determine to a considerable extent the kind of technique we need, ultimately benefiting as many pianists as possible.

Bio

Binyan Xu, a pianist and music scholar, integrates her musical knowledge with insights into cultural nuances and therapeutic practices. She holds a Master of Music in piano performance and pedagogy from the Academy, and a Bachelor of Music from Virginia Commonwealth University.

She has performed internationally as a solo pianist since 2016, including venues such as the Kennedy Center in Washington D.C and the Duke’s Hall and David Josefowitz Recital Hall at the Academy in London, as well as music festivals in Finland, Italy, Germany and the United States. She has been highly praised by pianists such as Leon Fleisher, Sonia Rubinsky and Alexander Paley.

Binyan's professional path is distinguished by her contributions to music education and outreach, she holds an LRAM teaching license and actively participates in organisations such as the Music Teacher National Association. Her work with ballet schools and churches in the United States has been instrumental in her pursuit to bridge cultural divides through music.