

































	

Feldenkrais	Research	Journal		•		volume	6		(2018-2019)	
	
Reflections	on	Practice	
	
	

Feldenkrais	Method	®		and	Piano	Somatics:	
From	the	General	Towards	the	Specific	in	Piano	Technique	

	
Alan	Fraser	
B.Mus,	M.Mus,	Dip.AMPS,	PGDip.PP,	GCFP	

Contact:		phraser@alanfraserinstitute.com	
	

Abstract	
This	article	is	built	around	an	extract	from		Play	the	Piano	with	Your	Whole	Self	,	my	fourth	in	an	ongoing	
series	of	books	on	piano	technique.	The	series	is	titled	“Natural,	Artistic	Piano	Playing,”	and	to	date	
contains	over	250	Piano	Somatics	ATM	®		lessons.	The	hand	on	key	functions	much	like	a	little	person	with	
legs	(fingers),	pelvis	(hand)	and	torso	(forearm).	This	analogy	lends	itself	to	Feldenkrais	Method-style	
exercises	which	develop	the	relationship	between	the	hand’s	innate	structure	and	function	and	the	
complex	actions	required	to	move	a	piano	key	artistically.	Piano	Somatics,	the	science	and	art	of	
movement	at	the	keyboard,	addresses	certain	thorny	problems	in	piano	pedagogy	that	have	exasperated	
generations	of	pianists.	The	Feldenkrais	Method,	with	its	understanding	of	skeletal	mechanics,	biological	
cybernetics	and	learning,	offers	the	context	for	Piano	Somatics’	new	approach	to	piano	technique.	

Keywords	
Feldenkrais	Method,	piano	technique,	classical	piano,	piano	&	Feldenkrais,	Alan	Fraser,	hand	movement	
development,	hand	arches,	hand	as	mini-body,	movement	developmental	approach	

Copyright	©:		The	copyright	for	this	paper	remains	with	the	author(s).	

Please	cite:		(First	published	in	the)		Feldenkrais	Research	Journal,	volume	6	;	2018-2019.	

Service	marks:		The	terms	Feldenkrais	®	,	Feldenkrais	Method	®	,	Awareness	Through	Movement	®	,	ATM	®	,	
Functional	Integration	®	,	and	FI	®		are	service	marked	terms	of	the	International		Feldenkrais	®		Federation	
(IFF)	and	Feldenkrais	professional	guilds	and	associations	in	many	countries.	In	keeping	with	academic	
conventions,	they	will	not	be	service	marked	in	the	entire	text	as	may	be	required	in	nonacademic	use,	
but	only	for	the	first	and	most	prominent	use	of	the	terms.	In	recognition	that	these	phrases	are	formal	
terms	referring	to	specific	practices	within	the	Method,	and	to	the	Method	as	a	whole,	capitalization	of	all	
the	words	in	each	term	has	been	retained.	 	

	
Published	by	the	International		Feldenkrais	®		Federation	(IFF)		https://feldenkrais-method.org	
Available	online	at		https://feldenkraisresearchjournal.org	
	

	
	

mailto:phraser@alanfraserinstitute.com
https://feldenkrais-method.org/
https://feldenkraisresearchjournal.org/


	

Reflections	on	Practice	
	
	

Feldenkrais	Method	®		and	Piano	Somatics:	
From	the	General	Towards	the	Specific	in	Piano	Technique	

	
Alan	Fraser	
B.Mus,	M.Mus,	Dip.AMPS,	PGDip.PP,	GCFP	

	
This	article	is	built	around	an	extract	from		Play	the	Piano	with	Your	Whole	Self	,	my	fourth	
in	an	ongoing	series	of	books	on	piano	technique.	The	series	is	titled	“Natural,	Artistic	
Piano	Playing,” 	and	to	date	contains	over	250	Piano	Somatics	ATM	®		lessons.	The	hand	1

on	key	functions	much	like	a	little	person	with	legs	(fingers),	pelvis	(hand)	and	torso	
(forearm).	This	analogy	lends	itself	to	Feldenkrais	Method-style	exercises	which	develop	
the	relationship	between	the	hand’s	innate	structure	and	function	and	the	complex	
actions	required	to	move	a	piano	key	artistically.	Piano	Somatics,	the	science	and	art	of	
movement	at	the	keyboard,	addresses	certain	thorny	problems	in	piano	pedagogy	that	
have	exasperated	generations	of	pianists.	The	Feldenkrais	Method,	with	its	
understanding	of	skeletal	mechanics,	biological	cybernetics	and	learning,	offers	the	
context	for	Piano	Somatics’	new	approach	to	piano	technique.		

My	Feldenkrais	Method	training	has	had	a	profound	influence	on	my	understanding	and	
teaching	of	piano.	Indeed,	I	decided	to	become	a	practitioner	with	the	express	intent	of	
developing	a	new	approach	to	piano	technique,	though	at	the	time	I	had	no	idea	how	that	would	
look.	I	intuitively	knew	that	the	structural-functional	underpinnings	of	the	method,	applied	to	
piano	playing,	might	offer	one	a	way	of	freeing	the	art	from	the	overly	academic,	creatively	
ham-strung	playing	of	so	many	modern	pianists	–	playing	that	is	not	even	a	pale	reflection	of	the	
glorious	interpretive	powers	of	the	past	masters.		

I	had	help	from	my	professor,	Phil	Cohen	of	Montreal	(1926-2018),	to	my	mind	the	Moshe	
Feldenkrais	of	the	piano	world.	He	moved	my	arms	as	a	practitioner	would,		while	I	was	playing	.	
One	reason	I	did	a	training	was	to	find	out		what	he	was	doing		as	he	evoked	new	sounds,	new	
touches,	new	phrase	shapes	and	expressions,	often	simply	by	guiding	me	physically.	
Sometimes	his	subtle	touch	on	my	forearm,	almost	a	non-touch,	would	evoke	a	deep	let-go	
within	my	body,	a	visceral	release	that	could	be	almost	painful,	something	wonderfully	disturbing	
and	mystifying.		

When	I	discovered	Feldenkrais	Method,	Functional	Integration	®		began	evoking	similar	
sensations.	What	thinking,	what	logic	lay	behind	these	experiences?	Why	was	it	“learning	how	
to	learn”	rather	than	learning	in	the	classical	sense?	How	could	I	bring	this	learning	style	to	

1		http://www.alanfraserinstitute.com/natural-artistic-piano.php	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 2	
	

http://www.alanfraserinstitute.com/natural-artistic-piano.php


	

piano	pedagogy?	Could	Feldenkrais	Method	help	me	to	understand	and	replicate	Cohen’s	
genius?	

The	experience	and	study	of	Tai	Chi	offered	a	preliminary	bridge	between	Feldenkrais	Method	
and	the	piano.	Resistance	in	Tai	Chi	is	a	form	of	parasitic	contraction.	The	reduction	of	
resistance	and	the	refinement	of	a	movement’s	trajectory	through	more	precise	bone	alignments	
allows	for	increased	power	with	less	effort.	Replace	ones	opponent	with	a	piano	key,	establish	
the	same	dynamic,	and	a	new	mode	of	musical	control	appears	–	a	strikingly	different	way	of	
relating	to	the	key	–	skin	to	skin,	flesh	to	flesh,	bone	to	bone	–	that	offers	one	a		tabula	rasa	,	an	
artistic	process	free	from	habitual	assumptions,	where	all	is	called	into	question,	all	interpretive	
strategies	must	be	established	anew.	I	recall	experimenting	with	this	in	concert,	using	movement	
to	specify	the	created	sonorities	in	Debussy’s		Images	,	and	my	teacher	commenting	afterwards,	
“You	weren’t	even	playing	the	piano;	you	were	doing	Tai	Chi	on	the	keys.”	I	knew	I	was	on	to	
something.		

The	next	step,	studying	with	the	Croatian	virtuoso	Kemal	Gekić	in	Yugoslavia	offered	me	further	
clarification.	Gekić’s	optimal	use	of	skeletal	dynamics	results	in	a	pianism	of	exceptional	power,	
variety	and	expressive	depth.	As	he	rebuilt	my	technique	from	the	ground	up,	I	began	to	
understand	in	a	practical	way	the	perceptual	and	skeletal	organization	needed	for	virtuosity.		

Transmitting	this	developing	practice	to	other	pianists	presented	an	obstacle.	Although	one	
cannot	guide	the	arm	of	a	pianist	reading	a	book	a	thousand	miles	away,	I	tried	to	communicate	
Cohen’s	magic,	Gekić’s	wizardry	through	the	printed	word.	My	first	attempt,		The	Craft	of	Piano	
Playing		(Scarecrow	Press,	2003/2011),	dealt	mainly	with	maximizing	the	innate	potency	and	
function	of	the	hand’s	arch	natural	structure.		Honing	the	Pianistic	Self-Image		(Maple	Grove	
Music,	2010)	raised	that	structure	up	into	a	state	of	unstable	equilibrium	to	make	it	more	
functional	and	more	a	reflection	of	the	elegant	sophistication	of	human	movement.		All	Thumbs:	
Well-Coordinated	Piano	Technique		(Maple	Grove	Music,	2012)	dealt	with	the	specific	problems	
of	the	opposable	thumb	–	a	question	so	complex	that	indeed	it	merits	a	complete	book.		Play	the	
Piano	with	Your	Whole	Self		(Piano	Somatics	Press,	in	press)	combines	these	issues	and	others	
in	a	series	of	integrative	exercises	that	relate	hand	function	on	key	back	to	the	quality	of	
movement	in	the	whole	body.		

All	along,	the	goal	had	been	to	develop	a	series	of	exercises	for	the	hands,	arms	and	body	that	
would	evoke	a	movement	style	similar	to	the	one	evoked	by	Cohen’s	and	Gekić’s	interventions	
–	and	the	metaphor	of	the	hand	as	a	little	person	with	legs	(the	fingers),	pelvis	(the	hand)	and	a	
torso	that	breathes	(a	forearm	that	moves)	has	been	a	perfect	vehicle.	The	skeletal	dynamics	of	
the	hand	and	the	human	body	are	amazingly	similar:	virtually	any	Awareness	Through	
Movement	®		(ATM)	strategy	for	the	whole	body	has	its	equivalent	for	the	hand	–	the	trick	is	the	
divining.	

One	aspect	of	Feldenkrais’s	developing	line	of	thought	offers	a	particularly	intriguing	blueprint	
for	these	exercises.	His	wife	Malka	had	been	a	paediatrician,	and	he	had	spent	an	inordinate	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 3	
	



	

amount	of	time	observing	babies	and	their	development	–	not	only	physical	growth	but	the	
development	of	movement.	He	could	perceive	sequences	in	the	learning	process:	certain	
aspects	of	skeletal	mechanics	and	function	needed	to	be	established	before	other	abilities	could	
be	built	on	that	foundation,	and	so	on	through	many	stages.	Feldenkrais	based	much	of	his	
method	on	mirroring	those	sequences	to	improve	adult	movement,	perhaps	most	elegantly	in	
the	Amherst	training	where	the	entire	series	of	ATMs	in	the	first	year	follows	the	movement	
evolution	of	the	infant	from	its	very	first	voluntary	action,	sucking	on	the	breast.	

This	book	chapter 	was	inspired	by	Feldenkrais’s	mapping	of	infant	movement	development	2

onto	improving	adult	human	movement.	The	included	ATM	tries	to	do	the	same	for	the	pianist’s	
hand.	

	
How	Babies	Move	

This	view	of	the	hand	as	bones	linked	in	an	elastic,	dynamic	chain	of	movement	is	new	–	
but	the	fact	is	not.	Hands	have	always	been	such,	and	infancy	and	childhood	have	
always	been	spent	learning	‘skeletal’	movement	throughout	the	body.	This	chapter	draws	
a	parallel	between	the	first	stages	of	human	movement	and	the	first	stages	of	learning	in	
a	pianist’s	hand.	For	every	new	movement	‘baby’	learns,	the	hand	is	given	an	equivalent.	
Do	the	movements	gently,	speculatively:	offer	the	hand	the	sensations	and	impressions	
of	a	pre-standing	apprenticeship.		

The	developing	sense	of	self	is	sensorially	based	

A	baby’s	sensory	experience	makes	a	crucial	contribution	to	its	sense	of	self.	Lying	prone	
stimulates	the	belly	and	the	entire	front	of	the	body;	lying	supine	does	the	same	for	the	back.	
Without	this	sensory	input,	there	would	not	even	be	a	sense	of	self	as	we	know	it	–	but	
sensation	alone	is	not	enough.	Baby’s	interface	with	the	world	is	created	through	movement.	
Without	movement,	there	is	limited	interaction	with	one’s	surroundings.	Movement	is	a	response	
to	stimulus	that	confirms	the	sense	of	self	by	establishing		relationship	.	

Sensation	combines	with	intention	to	beget	learned	movement	

Baby’s	first	movements	are	random;	they	lack	purpose.	When	baby	sees	and	wants,	it	
conceives	an	intention,	and	moves	to	fulfill	it.	The	first	attempts	miss	the	mark;	intention	remains	
thwarted	–	but	sensation	records	all	the	failures	and	refines	the	movement,	calibrates	it	until	
eventually	it	hits	home:	intention	is	fulfilled.	That	movement	is	recorded	in	the	brain,	‘soft-wired’	
for	future	reference,	and	with	enough	repetition	becomes	‘hard-wired’	into	permanent	storage	in	
a	cycle	of		

2	Extract	from	Fraser	(in	press,	a:	73-106).	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 4	
	



	

● sensation	
● perception	
● intention	
● movement	
● intention	fulfilled	(or	not)	
● wiring	in	(or	not)	
● recalibration		
● new	sensation		
● new	perception	
● new	intention	
● new	movement,	etc.	

The	sensory-motor	feedback	loop	

These	are	the	elements	of	the		sensory-motor	feedback	loop	,	the	fundamental	neurological	
process	underlying	learning.	The	initial	sensory	self	image	is	the	background	against	which	all	
the	baby’s	subsequent	motor	apprenticeship	takes	place.	Sensation	feeds	the	brain	the	
information	needed	to	fulfill	intentionality,	creating	ordered,	elegant	movements	out	of	chaos.	
Enriched	sensation	leads	to	a	better	sense	of	self,	a	more	detailed	and	accurate	perception	of	
movement,	and	thus	more	profound,	organic	learning.		

Healthy	movement	wastes	no	energy	

Good	alignment	is	an	essential	component	of	healthy	movement.	Misaligned	bones	cause	
friction	in	the	joints,	eventual	wear	and	tear,	strained	muscles	and	chronic	tensions	that	can	lead	
to	injury.	By	contrast	a	well-aligned	skeleton	is	ergonomically	efficient:	the	bones	transmit	forces	
cleanly	and	easily.	Babies		must		align	bones	to	transmit	forces	effectively,	because	they	are	too	
weak	to	do	it	any	other	way.	Necessity	forces	them	to	learn	easy,	elegant	and	efficient	
movement.	

Preliminary	elements	of	complex	actions	

Sitting,	standing	and	walking	are	as	remote	from	a	newborn	baby	as	the	Andromeda	Galaxy	is	
from	Earth	–	but	many	of	its	preliminary	movements	become	crucial	components	of	those	more	
complex	and	demanding	activities	that	appear	much	later.		

Nobody	learned	to	walk	by	walking		

Those	components	are	learned	most	effectively	in	a	stress-free	environment.	The	leg	first	flexes	
and	extends	while	baby	is	lying	down,	in	comfort.	Many	muscular	segments	calibrate	their	
degree	of	contraction	to	make	the	action	effective	–	the	coordination	is	finer	in	a	leg	free	from	
the	stresses	of	standing.	Leg	flexion	and	extension	is	much	easier	even	in	crawling,	a	more	
exploratory	activity	than	in	walking.	The	hip	joints	don’t	stiffen	because	they	are	bearing	so	little	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 5	
	



	

weight.	Lying	on	the	back	and	pushing	the	ground	with	the	legs	is	also	free	from	weight-bearing	
–	the	hips	just	transmit	kinetic	energy.	Even	thrusting	the	pelvis	up	into	the	air	is	relatively	
stress-free,	an	important	intermediate	step	towards	full	weight-bearing.	

The	long	apprenticeship	is	informed	by	whole	body	sensory	experience	

Sliding	along	the	ground	as	we	first	move	enriches	the	sensory	experience	of	our	torso.	Without	
the	rich	sensory	stimulation	from	the	back	or	the	belly	in	lying	and	sliding,	the	kinesthetic	sense	
of	self	would	be	relatively	impoverished,	and	the	leg	muscles	would	push	more	mechanically.	
When	the	sense	of	self	derived	from	the	torso’s	sensory	input	informs	the	flexing	and	extending	
of	the	limbs,	there’s	a	more	sophisticated	and	subtle	interaction	between	the	various	muscle	
groups.	Flexion	and	extension	develop	an	organic	quality	because	the	learning	is	both	
stress-free	and	sensorially	enriched.	Enhanced	sensation	of	self	improves	the	functioning	of	the	
sensory-motor	feedback	loop.	

Context	of	comfort	and	security	

As	a	baby	acquires	its	movement	skills,	there	are	many	false	starts,	many	wrong	paths	–	but	it’s	
all	fine.	There’s	no	hurry,	and	there’s	no	stress	–	baby	is	lying	down.	Baby	flexes	and	extends	its	
arms	and	legs,	its	hands	and	feet,	its	fingers	and	toes,	effortlessly	and	easily	as	it	feels	the	floor	
or	its	mother’s	body	supporting	its	entire	skeleton.		

The	first	‘making	peace	with	gravity’	is	capitulation.	Gravity	wins	hands	down	and	baby	is	fine	
with	that.	It	lies	down,	cools	out,	and	enjoys	the	contact	with	the	sand,	the	ground,	the	water,	its	
mom.	All	the	while	the	brain	is	developing	a	sophisticated,	complex	set	of	coordinations	which	
will	afterwards	serve	as	templates	for	the	child’s	developing	gait.	The	brain	will	refer	back	to	
these	constantly,	bringing	their	sophisticated,	organic	quality	to	standing,	walking,	running	and	
jumping.	

After	the	long	apprenticeship:	finally,	full	verticality	

Standing	for	the	first	time	at	about	one	year,	baby	keeps	her	hip	joints	fluid.	Her	innate	
intelligence	senses	that	stiffening	them	would	make	her	lose	her	balance	and	fall.	She	must	stay	
malleable	to	stay	upright,	allowing	for	the	continuous	adjustments	that	keep	the	body	in	balance.	
She	can	do	so	if	she	has	acquired	all	the	requisite	movement	components	–	but	if	she	stands	
before	they	are	fully	developed,	baby	will	stiffen	unduly.	Standing	will	be	mechanically	inefficient.	

A	full	seven	years	to	learn	adult	walking	

Although	the	hips	don’t	lock	in	standing	even	initially,	many	other	joints	do	–	the	act	is	still	
relatively	undifferentiated.	Another	full		six		years	will	pass	before	baby	acquires	the	
sophisticated,	complex	motor	organization	of	adult	walking	(Brenière	and	Bril	1998:	1-2).	There	
is	a	world	of	difference	between	the	first	halting,	undifferentiated	steps	of	an	infant	and	the	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 6	
	



	

subtle,	three-dimensional	flattened	figure-eight	movement	of	the	pelvis	that	appears	in	its	
mature	form	only	at	age	seven.	Adult	walking	takes	so	long	to	develop	because	that	
sophisticated	gait	must	integrate	so	many	movement	sub-components.		

Standing	and	moving:	an	inherent	contradiction	

In	walking,	the	hip	joints	must	simultaneously	hold	the	torso	erect	and	initiate	the	legs’	free,	fluid	
movement.	Hip	tonus	must	be	high	enough	to	keep	the	body	erect	–	but	not	completely	stiff.	
High	tonus	allows	smooth,	but	not	unwieldy	movement	through	the	torso:	the	hips	remain	fluid	
when	subtle	adjustments	to	the	body’s	shifting	weight	ripple	through	the	entire	frame.	It’s	the	
need	to	develop	this	complex	and	delicately	balanced	organization	that	makes	for	such	a	long	
apprenticeship	–	both	pre-	and	post-standing.		

“As	above,	so	below”:	as	for	the	whole	body,	so	for	the	hand	

The	hand	of	a	beginning	pianist	is	in	a	similar	situation	to	a	newborn	baby.	The	actions	that	
move	the	keys	are	a	pianistic		tabula	rasa		for	it.	If	the	hand	could	lie	down	and	crawl	on	the	keys	
before	walking	–	acclimatizing	itself	to	the	keyboard	before	being	subjected	to	the	stresses	of	
standing,	walking,	running	and	jumping	on	the	keys	–	it	could	profoundly	improve	its	pianistic	
sense	of	self.	Correlating	baby’s	pre-	and	post-standing	movement	experiences	to	those	of	the	
beginning	pianist’s	hand	on	key	shows	us	why	many	hands	are	over-relaxed	or	too	stiff,	and	
why	they	could	benefit	from	a	pianistic	pre-standing	apprenticeship.	

The	hand,	missing	out	on	the	equivalent	of	baby’s	entire	first	year	of	sensorial	experience,	is	
forced	to	stand	and	walk	on	key	its	very	first	pianistic	day.	A	child’s	hand	may	be	dextrous,	but	
not	adept	at	walking	on	piano	keys,	let	alone	exerting	precise	control	over	the	descent	and	
ascent	of	those	keys.	‘Standing’	and	‘walking’	causes	many	pianists	to	stiffen	their	hands	
despite	their	best	intentions	to	relax	–	when	there	has	been	no	pre-standing	apprenticeship.	

The	pianist’s	hands	have	been	denied	their	movement	birthright	

The	beginner	forced	to	play	immediately,	like	the	baby	forced	to	walk	prematurely,	forgoes	a	rich	
experience	of	sensual	contact	with	the	key	that	could	inform	his	or	her	apprenticeship	to	
pianistic	standing,	walking,	running,	hopping	and	leaping.	Without	it,	flexion	and	extension	of	
one's	pianistic	legs	don't	develop	organically.	The	pianist	lacks	the	baby’s	abundance	of	time	
and	its	stress-free	environment.		

A	well-organized	‘hand	hip	joint,’	the	metacarpal-phalangeal	joint,	can	simultaneously	stand	firm	
and	move	fluidly,	but	many	pianists’	hands	remind	me	of	the	stressed-out	infant	forced	to	walk	
too	soon	without	having	learnt	how.	The	hand	holds	itself	stiffly	in	its	arch	shape,	the	arm	
moving	this	stiff	structure	into	the	key;	or	the	arch	collapses	in	an	attempt	to	stay	relaxed,	as	if	

	
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the	hand	had	a	sort	of	pianistic	polio.	This	'pianistic	preemie'	simply	doesn’t	know	how	to	stay	
erect,	stiffening	and	impeding	movement	or	staying	ineffectively	limp.		

The	high	incidence	of	piano	disabilities	is	a	natural	outcome	

Who	could	expect	the	hand’s	‘hip	joint’	to	master	an	incredibly	complex	set	of	skills	the	first	
moment	it	touches	the	piano?	Is	it	any	wonder	there	are	so	many	technical	problems?	Is	it	any	
wonder	we	develop	tendonitis,	carpal	tunnel	syndrome,	focal	dystonia	and	all	the	rest,	when	our	
hands	are	denied	their	pianistic	birthright?	

A	new	regime	for	developing	capable,	healthy	hands	at	the	keyboard	

This	next	ATM,	and	in	a	larger	way,	much	of	this	book,	addresses	the	dilemma,	offering	our	
hands	the	incalculable	benefits	of	a	sensorially	rich	pre-standing	keyboard	apprenticeship.	The	
developmental	exercises	stimulate	the	beginner’s	hand	to	move	at	the	keyboard	naturally,	
organically,	biologically.	Advanced	pianists	can	also	benefit,	finally	freeing	the	hand	from	the	
stress	it	has	experienced	all	its	pianistic	life:	the	learned	response	to	the	stress	of	standing	and	
walking	too	soon.	

	 	

	
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ATM						The	Hand	Like	a	Baby	Learning	Movement	

Sucking	

A	baby	needs	first	to	satisfy	its	hunger:	it	learns	first	to	suck	on	the	breast.	No	sucking,	no	
survival.	

	
Photo: iStock Photos 

Illustration	1:	Baby	breastfeeding	

	
The	contraction	of	the	lips	activates	extensors	all	through	the	neck	and	spine,	preparing	these	
muscles	for	their	eventual	role	in	straightening	the	whole	body	to	verticality.		

How	could	the	hand	imitate	the	reflexive	contractions	of	sucking?	
	

Step	1:	Rub	each	finger	pad	in	turn	against	the	thumb	pad.		Where	do	you	feel	muscular	
activity	–	only	in	the	fingers	or	elsewhere	as	well?	Rotate	the	forearm	and	flex	and	extend	the	
wrist	as	you	rub.	Which	hand	position	helps	you	most	clearly	feel	reciprocal	activity	in	the	
upper	arm	and	shoulder	area?	

	

	
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Photo: Igor Peyovitch 

 
	Illustration	2:	Rub	fingers	&	thumb	against	each	other	

	

Step	2:		Explore	a	similar	movement	on	key:	rub	the	entire	surface	area	of	a	key	with	each	
finger	pad	in	turn,	sensing	muscular	effort	in	the	finger	hand	--->	wrist	--->	forearm	--->	elbow	
--->	upper	arm	--->	shoulder	--->	around	the	shoulder	blade	--->	elsewhere	in	the	back	--->	
and	the	neck.	Do	the	same	with	the	thumb	--->	and	then	with	combinations	of	fingers	and	
thumb.	Vary	the	pressure:	sometimes	rub	lightly,	other	times	press	quite	firmly	–	what	
changes	in	the	sense	of	muscular	activity	throughout	yourself?		

	 	

	
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The	bell	hand	

Baby’s	sucking	evokes	an	echo	of	flexion	in	its	fingers	–	the	“bell	hand”	movement	of	many	
Feldenkrais	Method	Awareness	Through	Movement	lessons.		

This	primeval,	elemental	grasping	motion	is	a	deep-seated	reflexive	component	of	human	
movement	–	and	at	best	it	suffuses	most	of	the	movements	of	the	hand	on	key.		
	

Step	3:	Rest	your	elbow	on	a	surface.	Lean	the	forearm	forward	slightly,	and	let	the	
hand	droop.	Gently	bring	fingers	and	thumb	together	while	the	hand	moves	back,	
reaching	the	vertical	and	even	passing	it	slightly	as	thumb	and	fingers	touch	,	while	the	
forearm	comes	to	the	vertical	as	well.	Then	droop	the	hand	again,	letting	the	forearm	move	
forward	as	fingers	and	thumb	separate	from	each	other.	Move	the	hand	gently	in	the	air	like	
seaweed	waving	in	a	soft	ocean	swell,	without	curling	the	fingers,	just	letting	them	form	a	bell	
shape	on	their	own	–	or	perhaps	helping	them	out	just	a	little.	Where	else	does	the	bell	hand	
movement	evoke	muscular	activity?	

	
	

	
Photo:	Igor	Peyovitch	

Illustration	3:	The	bell	hand	motion	 	

	
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Extension	

The	baby	begins	to	see,	and	interests	itself	in	things	other	than	the	breast.	It	wants	things.	Lying	
on	its	stomach,	it	lifts	its	head	to	see	more,	allowing	the	torso	to	develop	the	rudiments	of	
extension.		

	
Photo:	iStock	Photos	

Illustration	4:	Raised	head	with	arms	curled	under	

	
How	would	your	hand	‘raise	its	head?’	
	

Step	4:		Cup	the	hand,	fingers	and	thumb	quite	closely	bunched,	and	lay	it	palm	down	on	the	
table.		Slide	the	finger	pads	away	from	you	so	the	hand	flattens.		Do	this	several	times,	
attending	to	the	physical	sensations	elsewhere	in	your	arm	and	body.		

Step	5:		Repeat	step	4,		flattening	the	fingers	more	and	more	until	the	tips	leave	the	table	
to	‘look	up,’	as	if	the	fingertips	are	baby’s	head.		The	straightened,	sliding	fingers,	their	tips	
rising	slightly	in	the	air,	recall	a	bobsled	moving	so	quickly	that	its	front	end	becomes	airborne.	
Don’t	extend	the	fingers	in	isolation:	feel	supportive	muscular	activity	in	the	hand	--->	wrist	--->	
forearm	--->	upper	arm	--->	shoulder	--->	back	and	torso	helping	the	fingers	fan	out	and	up.	
Let	the	arm	go	to	allow	these	muscles	to	participate	more	subtly	and	effectively.	Find	the	easy	
way.	

	

	
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Photo:	Igor	Peyovitch	

Illustration	5:	The	fingers	‘raise	their	heads’	

	 	

	
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Grasping	and	flexion	

Baby’s	exploration	of	the	world	is	primarily	sensorial:	to	understand	something,	in	addition	to	
seeing	it,	she	must	grasp	it	and	bring	it	to	her	mouth.	
	

	
Photo:	iStock	Photos	

Illustration	6:	The	mouth	is	the	primary	sense	organ	

	

Step	6:		Flop	your	hand	on	a	table	and	‘glue’	the	fingertips	to	the	surface.		Move	the	heel	of	
the	hand	toward	the	glued	tips,	sliding	the	forearm	and	curling	the	fingers	while	the	
MCP 	joints	stay	fairly	low.		Curl	the	fingers	and	slide	the	arm	more	and	more	until	the	tips	3

come	unglued	from	the	table	to	nestle	in	the	palm,	and	the	‘backs’	of	the	medial	phalanges	lie	
on	the	table.	The	fingertips	have	been	put	into	the	‘mouth’	of	the	hand,	deep	within	the	palm.	
Curl	the	fingers	passively	by	sliding	the	heel	forward,	or	curl	them	actively	to	pull	the	heel	
forward.	The	pull	can	be	non-existent,	gentle,	or	so	strong	that	it	transmits	up	the	arm	into	the	
body,	even	pulling	the	torso.		

	

3	Metacarpal-phalangeal	joint	

	
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Photos:	Igor	Peyovitch	

Illustration	7:	The	hand	slides	forward	to	nestle	the	fingertips	in	the	palm	(the	hand’s	‘mouth’)		

	 	

	
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Propping	

Baby	straightens	its	arms,	pushing	the	body	into	a	stronger	extension.		
	

	
Photo:	iStock	Photos	

Illustration	8:	Straightened	arms	raise	head	farther		

	
How	could	the	hand	imitate	propping?	
	

Step	7:		With	the	fingers	curled	and	lying	on	the	backs	of	the	medial	phalanges,	begin	to	
straighten	them,	making	the	wrist	rise	a	little.		Do	this	many	times,	increasing	the	range	by	
small	degrees	to	sense	in	as	much	detail	as	possible	the	inner	workings	of	this	unusual	
movement.		
Perhaps	get	out	of	your	chair	and	stand	by	the	table,	making	it	easier	for	the	wrist	to	rise	
farther.	

	

	

	

	

	
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Photos:	Igor	Peyovitch	

Illustration	9:	Uncurl	fingers	to	‘prop’	the	arm	up		

	 	

	
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Extending	the	legs	

In	its	first	attempts	to	move	about,	baby	straightens	its	legs,	pushing	on	the	ground	with	its	foot.		
	

	
Photo:	iStock	Photos	

Illustration	10:	Baby	pushes	legs	to	raise	pelvis		
	

If	it	is	lying	on	its	back,	this	pushes	its	pelvis	up	into	the	air.		
	

Step	8:		Lie	your	hand	on	its	back.	Extend	the	fingers,	straightening	them	so	much	that	the	
fingernails	push	on	the	table,	pushing	the	metacarpal-phalangeal	joints	up	into	the	air.	Leave	
the	elbow	hanging	so	the	extensors	get	a	good	workout	and	the	lumbrical-interossei	really	
stretch.		

	
	

	
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Photo:	Igor	Peyovitch	

Illustration	11:	Fingers	extend	to	push	the	‘hand-pelvis’	up		

	

	

	

	
	 	

	
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Commando	crawling	

If	baby	lies	prone,	it	begins	to	creep	(‘commando	crawl’)	on	its	belly.		
	

	
Photo:	iStock	Photos	

Illustration	12:	Baby	commando	crawling		

	
How	could	the	hand	creep	along	the	table	top?	
		

Step	9:		Flop	the	hand	on	the	table	with	fingers	curled	enough	to	make	them	stand	on	their	
tips.	Make	the	distal	phalanges	stand	vertically.	Glue	the	fingertips	to	the	table	and	straighten	
the	fingers	to		push	the	heel	of	the	hand	away	from	them,	sliding	the	heel	along	the	table	
towards	yourself.		Then	glue	the	heel	and	curl	the	fingers	to	slide	the	tips	closer	to	the	heel.	
Then	glue	the	tips	again	and	repeat.	The	hand	moves	like	an	inchworm.		

Step	10:		Commando	crawl	in	the	other	direction	by	curling	the	‘glued’	fingers	to	pull	the	heel	
of	the	hand	closer	to	them,	then	gluing	the	heel	to	the	table	and	straightening	the	fingers	to	
slide	or	flop	them	farther	out	in	front.	Repeat.		

	
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Photos:	Igor	Peyovitch	

Illustration	13:	The	hand	commando	crawls	forward	(step	10)	

	 	

	
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Toe	differentiation	

The	toes	learn	to	flex	independently	of	the	foot,	increasing	the	degree	of	differentiation	in	
crawling.	
	

	
Photo:	iStock	Photos	

Illustration	14:	The	toes	curl,	the	better	to	feel	the	ground	

	

Step	11:		Creep	again	(steps	9,	10),	stopping	many	times	mid-movement	to		flex	and	extend	
the	fingertips	isometrically.		Glue	the	tips	to	the	table,	curling	and	uncurling	the	distal	
phalanges	alone	without	letting	them	slide.	Don’t	flex	the	whole	finger	–	only	the	tips.	Curl	
them	isometrically	to	dig	them	gently	into	the	table	top,	then	release.	

	

	 	

	
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Rolling	–	prone	to	supine	

If	baby	looks	sideways	and	up,	she	begins	to	roll,	eventually	flopping	over	onto	her	back	
(surprising	herself	as	much	as	anyone).		
	

	
Photo:	iStock	Photos	

Illustration	15:	Baby	looks	up,	rolls	over	
	

How	could	the	hand	imitate	baby’s	first	rolling	experiences?	First	let’s	explore	a	movement	from	
prone	to	supine.	
	

Step	12:		Lay	the	hand	prone	with	the	fingers	quite	straight,	but	not	stiff.	Begin	to		oppose	the	
thumb	to	the	fingers	while	supinating	the	forearm	so	the	hand	folds	in	on	itself,	
drawing	the	thumb	toward	the	fingers.		Glide	the	thumb	along	the	table	towards	the	fingers	
so	it	moves	under	the	hand,	causes	the	hand’s	arch	to	rise.	Let	the	thumb	leave	the	table	
when	it	wants	to;	don’t	force	it	to	maintain	contact.	Eventually	the	hand	rolls	onto	its	back,	the	
fingers	bunched	loosely.	Where	does	the	thumb	end	up?	Does	it	float	loosely	in	the	air,	or	
does	it	touch	the	underside	of	the	fingers?	If	so,	where?	Each	time	you	roll,	fold	the	hand	a	
little	more	or	a	little	less	–	how	do	the	trajectories	change?	How	many	variations	can	you	
develop?	

	

	
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Photos:	Igor	Peyovitch	

Illustration	16:	Draw	thumb	to	fingers	to	roll	from	prone	to	supine		

	

	
	 	

	
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Rolling	–	supine	to	prone	

Rolling	the	other	way,	let’s	introduce	a	preliminary	movement	towards	‘sitting.’		
	

Step	13:		Before	returning	from	supine	to	prone,	let	the	hand	(except	the	thumb)	rest	more	
completely	on	its	back.	Pronate	to	flop	the	heel,	thumb,	palm	and	fingers	onto	the	table.	
Repeat	several	times.	

Step	14:		While	pronating	from	supine,	move	the	heel	towards	the	fingertips	so	the	hand	folds	
in	on	itself	and	comes	to	‘sitting.’	

	

	

Photos:	Igor	Peyovitch	

Illustration	17:	Rolling	from	supine	to	prone,	fold	hand	to	‘sit’	on	the	backs	of	the	fingers	
(step	14)	

	 	

	
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Folding	the	leg	in	and	under	

Baby	learns	to	flex	its	leg	and	draw	the	leg	up	underneath	itself	in	preparation	for	a	stronger	
push.		

	
Photo:	iStock	Photos	

Illustration	18:	Drawing	the	leg	up	and	in	towards	the	torso	
	

Step	15:		With	the	heel	on	the	table	and	the	loosely	curled	fingers	lying	on	the	backs	of	their	
medial	phalanges,		make	a	stronger	fist	to	make	the	MCP	joint	more	pronounced.	

Step	16:		With	their	‘backs’	still	glued	to	the	table,	uncurl	the	fingers	slightly	to	push	the	MCP	
joint	a	little	higher,	but	leave	the	heel	on	the	table.	The	fingers	will	now	lie	on	the	backs	of	the	
distal	phalanges,	and	the	thumb	will	straighten	and	move	slightly	away	from	the	hand.	This	
imitates	baby’s	pushing	her	body	with	her	legs	instead	of	her	arms.	

	

	

	
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Photos:	Igor	Peyovitch	

	
Illustration	19:	Extend	the	fisted	fingers	to	lift	the	hand’s	‘pelvis’	(step	16)	

	

	
	
Folding	the	body	

But	when	it	draws	its	leg	up,	it	also	begins	to	fold	its	body.	
	

	
Photo:	Irina	Saygina	

Illustration	20:	Baby	folds	body	to	half-roll,	half-sit	

	
How	could	your	hand	fold	to	imitate	the	folding	of	a	baby’s	torso?	

	
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Step	17:		Lay	the	hand	prone	on	the	table	top.		As	you	roll	it	onto	its	back,	fold	it		so	by	the	
time	the	backs	of	baby’s	‘legs’	touch	the	ground,	baby’s	‘torso’	is	curled	over	them.		

	
	

	

Photos:	Igor	Peyovitch	

Illustration	21:	Roll	to	fold	the	hand	onto	the	backs	of	the	fingers		

	

Step	18:		Lay	the	hand	flat	on	the	table.		Combine	commando	crawling	with	a	partial	roll	by	
drawing	the	thumb	tip	towards	fingertips	while	supinating	the	hand.		Leave	the	fingers	
straight.	Finally	thumb	nestles	against	the	2nd	finger.	Where	is	there	effort:	in	the	hand	--->	
forearm	--->	upper	arm	--->	shoulder	--->	back?	Intensify	the	hand’s	internal	effort	by	drawing	
all	5	fingers	together	as	you	supinate.	

	

	

	
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Photos:	Igor	Peyovitch	

Illustration	22:	Roll	to	fold	thumb	into	curved	fingers		

	

	

	
Photos:	Igor	Peyovitch	

Illustration	23:	Roll	to	fold	thumb	into	flat	fingers		 	

	
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Sitting	

Folding	leads	to	a	whole	new	series	of	developments	–	baby	folds	the	torso	until	it	can’t	fold	any	
more,	so	it	begins	to	unfold.	Flexion	transforms	into	extension,	and	baby	comes	to	sitting.	
	

	
Photo:	iStock	Photos	

Illustration	24:	Baby	sitting	fully	upright	

	
When	was	the	last	time	any	of	us	sat	like	this,	with	such	wonderful	verticality,	such	complete	
ease,	with	a	torso	naturally	soaring	high	and	happy?	

How	would	your	hand	sit	up?	
	

Step	19:		Rest	your	loose	fist	on	the	table	and		roll	further	forward	to	lie	on	the	backs	of	
your	proximal	phalanges.		Now	bring	your	hand	to	the	vertical	while	all	three	phalanges	of	all	
the	fingers	extend	to	press	their	backs	into	the	table.	Sit	forward	in	your	chair,	or	even	stand	
up	to	do	this	more	easily.		

Step	20:		Alternately,	lay	your	hand	on	its	palm.		Roll	to	the	outside	until	the	hand	and	
fingers	lie	on	their	backs	on	the	table.		Next,	fold	the	hand	while	the	finger	backs	remain	
glued	to	the	table	so	the	heel	of	the	hand	and	the	completely	supinated	forearm	move	
forward,	away	from	you.	Get	out	of	your	chair	and	stand	by	the	table	to	feel	more	comfortable.		

	
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Photos:	Igor	Peyovitch	

	
Illustration	25:	Hand	sit-ups	

	
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Here	the	fingers	are	baby’s	legs,	the	hand	its	torso,	its	head	where	your	wrist	is.	
	

 
Photo:	Igor	Peyovitch	

Illustration	26:	Fingers	lie	on	their	backs,	hand	vertical 

	

	

	

	

	
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Standing	–	bottom	half	only	

The	legs	eventually	flex	so	well	that	baby	stands	right	up	–	but	since	her	top	half	isn’t	ready,	only	
her	derrière	becomes	fully	vertical.		

	
Photo:	Irina	Saygina	

Illustration	27:	Tush	higher	than	everything	else	

	
Notice	the	ninety-degree	angle	between	legs	and	torso:	she’s	using	her	structure	in	the	best	
possible	way	–	albeit	for	a	questionable	goal.	
	

Half-standing	

How	would	your	hand	stick	its	tush	in	the	air?		

Step	21:		Flop	the	hand	on	table,	and	leaving	the	fingers	absolutely	straight,		flex	them	to	
draw	the	heel	towards	the	fingertips.		Here	the	MCP	joint	is	baby’s	tush,	the	fingertips	its	
head,	the	wrist	its	feet.	The	straighter	the	fingers,	the	higher	baby’s	tush	can	rise	while	head	
and	feet	remain	securely	on	the	ground.		

	
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Photos:	Igor	Peyovitch	

Illustration	28:	Fingers	approach	the	stationary	thumb	by	gradually	flexing		

	
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Integration	
	

Step	22:	Let	your	hands	hang	by	your	sides.	Sense	the	difference	between	right	and	
left.		Which	hand	feels	warmer	--->	larger	--->	more	sensitive	--->	more	alive	--->	more	potent?		

Go	to	the	piano	and	play	a	passage	with	your	left	hand,	and	then	the	same	with	your	right.	
What	did	your	right	hand	spontaneously	do	differently?	Has	this	new	version	of	its	self-image	
changed	how	it	stands,	walks,	runs	and	jumps	on	the	keyboard?	

	
	

Postscript	

I	have	been	developing	a	Feldenkrais	Method-based	approach	to	piano	technique	for	over	30	
years,	almost	50	years	if	we	count	my	initial	experiences	with	Phil	Cohen.	The	main	group	of	
“student-beneficiaries”	has	been	my	class	at	the	University	of	Novi	Sad,	Serbia,	whose	Art	
Academy	was	one	of	the	top	music	conservatories	in	Yugoslavia.	I	also	work	with	professionals,	
adult	amateurs,	university	students	and	young,	gifted	pianists	at	the	Alan	Fraser	Piano	Institute, 	4

with	editions	of	the	institute	in	various	European	and	North	American	centers.	My	glory	year	as	
a	pedagogue	was	perhaps	1999-2000	at	the	Music	Conservatory	in	Wuhan,	China,	where	a	
whole	flock	of	youngsters	blossomed	when	exposed	to	these	ideas.	It	was	striking	to	see	how	
untrue	the	old	assumption	was:	that	those	from	the	East	can’t	really	understand	Western	
classical	music.	When	their	selves	were	brought	into	direct	relationship	to	the	music,	their	
innate,	human	musicianship	quickly	found	voice.		

The	hand’s	basic	function	is	to	grasp.	Turn	the	hand	palm	down	and	lay	it	on	a	surface;	the	
same	grasping	action	now	creates	an	arch.	The	voice	of	the	piano	is	reflected	in	the	integrity,	
functionality	and	potency	of	this	arch,	which	must	be	neither	too	stiff	nor	too	relaxed.	The	
Feldenkrais	approach	helps	pianists	avoid	the	two	main	factors	impinging	on	arch	integrity,	
relaxation	and	arm	weight	technique	where	the	weight	of	the	arm	is	used	to	move	the	key.	A	
healthy	arch	allows	the	fingers	to	walk	functionally,	freeing	the	wrist	and	arm	for	their	proper	
task,	linking	notes	together	in	discrete	lateral	movements.	This	is	a	gross	simplification	of	these	
seminal	ideas	which	have	far-reaching	consequences	in	the	empowerment	of	modern	day	piano	
technique.		

Of	course,	a	purely	physical	approach	to	piano	technique	would	seem	to	neglect	the	crucial	
element	of	musical	expression.	One	needs	much	more	than	a	healthy	arch	and	differentiated	
arm	movements	to	make	music.	However,	the	rare	artist	who	can	trust	her	body	to	enact	a	
musical	conception,	who	can	afford	to	avoid	the	distraction	of	“how,”	has	an	exceptionally	great	

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talent,	or	has	been	trained	so	well,	at	such	a	young	age,	that	now,	in	her	maturity,	she	simply	
cannot	remember	that	apprenticeship.	Maria	João	Pires	can	afford	to	assert	that	“technique	
doesn’t	exist”	(cited	in	Maes	2014)	–	and	she	really	believes	it	–	because	her	body	responds	
perfectly	to	her	musical	intentions.	Those	who	attempt	to	live	as	if	she	were	right,	without	the	
requisite	flawless,	effortless	and	complete	technique,	risk	injury	or	even	worse,	boring,	musically	
inept	performances.	One	pianist,	after	discovering	the	immense	potential	of	the	hand’s	arch	in	
mastering	Chopin’s		Etude	in	C	major,	Op.	10	#1	,	said	that	he	could	finally	play	the	etude	
musically,	although	we	had	not	said	a	word	about	the	music.	We	had	simply	taught	his	physical	
self	how	to	fulfil	his	musical	vision.	

There	is	always	a	direct	link	between	physical	organization	and	musical	result.	Everything	you	
do,		sounds	.	Every	gesture,	every	newly	learned	movement	affects	the	quality	of	the	music’s	
sonority	and	expression.	This	relationship	is	explored	in	depth	in	other	chapters	of		Play	the	
Piano	with	Your	Whole	Self	,	as	well	as	in	my	other	books	on	piano	technique.	The	above	
excerpt	neglects	it	only	because	I	wanted	to	present	the	link	between	a	baby’s	pre-standing	
apprenticeship	and	the	hand’s	beginning	steps	at	the	piano	as	concisely	as	possible.		

The	world	of	pianists	can	be	roughly	divided	into	two	camps,	those	who	avoid	the	distraction	of	
the	“how,”	and	those	who	benefit	by	delving	into	it.	Many	sceptics	will	always	remain,	but	
thankfully	there	are	many	who	eagerly	greet	new	insights	into	the	physical/musical	connection.	
The	Feldenkrais	Method	was	initially	brought	to	musical	performance	mainly	to	address	injury,	
but	it	is	hoped	that	for	the	developing	group	of	musico-physico	aficionados,	the	far	richer	aspect	
of	interpretative	development	comes	to	the	fore.	

Everything	you	do,		sounds	

My	students	have	noticed	that	the	palpable	sense	of	connection	between	“skeletal	self”	and	
one’s	instrument	begets	artistic	transformation.	When	there	is	no	contradiction	in	the	body’s	
relationship	to	the	musical	shape,	nor	the	musical	instrument,	musical	expression	grows	
naturally	out	of	the	architectonic	structure,	instead	of	being	imposed	upon	it.	Starkly	bold	
orchestrations	on	the	piano	become	possible	when	muscular	interference	is	absent	and	the	
bones	align	effectively	to	transmit	kinetic	forces	efficiently.	Movement	rippling	unhindered	
through	the	skeleton’s	entire	kinematic	chain	allows	the	whole	self	to	take	part	in	the	artistic	
process,	with	an	accompanying,	astonishing	blossoming	of	emotionally	expressive	content.	
Music	can	now	speak	from	deep	within	the	self.		

When	a	piano	key	is	a	three-dimensional	entity	to	be	entered	rather	than	an	object	to	be	
depressed,	it	becomes	an	effective	means	of	colour	creation,	an	effective	tool	for	rich	
orchestrations.	The	requisite	precision	can	be	obtained	through	Feldenkrais-style	physical	
differentiations	not	only	in	the	hand’s	‘mini-body’	but	also	in	the	body	as	a	whole.	The	shape	of	
every	gesture	affects	not	only	on	the	sound,	but	also	one’s	basic	inner	state	–	the	level	of	
background	tonus	throughout	the	entire	body	that	allows	more	sophisticated	skeletal	

	
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differentiation,	that	experiences	the	music	physically,	not	just	intellectually,	that	seems	to	touch	
the	very	soundboard	with	artistic	spirit.		

In	the	past,	piano	technique	has	been	seen	as	scales	and	arpeggios,	Czerny	and	Hanon	
exercises,	the	diligent	cultivation	of	mechanical	dexterity	through	the	slavish	repetition	of	
exercises.	The	“how”	was	expected	to	develop	reflexively.	Even	the	young	Liszt	put	his	
newspaper	on	the	music	desk	while	he	did	his	hour	or	two	of	finger	exercises	each	day.	
Extending	a	Feldenkrais	Method	mindset	into	the	realm	of	piano	technique	changes	all	that.	
Becoming	aware	of		how		one	plays	enhances	the	physical	and	mechanical	result.	When	physical	
blockages	melt	away,	one	is	more	potent	physically	and	artistically.	It	is	crucial	that	this	“how”	be	
felt		at	the	sensory	level,	not	just	understood	intellectually	–	hence	the	Feldenkrais	Method-style	
exercises,	which	become	most	effective	not	when	done	in	isolation	but	when	applied	to	the	
solution	of	specific	musical	and	technical	challenges	presented	in	the	repertoire.	

The	refining	influence	of	the	Feldenkrais	Method	for	pianists	and	other	musicians	is	not	just	
about	feeling	good,	not	just	about	relaxing,	nor	even	just	about	improving	movement	–	it	is	about	
connecting	the	deepest	parts	of	the	artist	to	the	instrument	to	create	performances	full	of	drama	
and	sensitivity,	power	and	subtlety,	to	engender	a	voice	that	speaks	with	true	artistic	command.	

	
References	

Brenière,	Y.,	and	Bril,	B.	(1998)	‘Development	of	postural	control	of	gravity	forces	in	children	
during	the	first	5	years	of	walking’.		Exploratory	Brain	Research	121		(3),	255-262	

Cohen,	P.	(2008)	‘The	Embodied	Conductor:	Concert	Pianists,	Diaper	Dancers,	and	the	Fine	Art	
of	Creative	Variability	in	Performance’.	in		Inquiry	in	Education	II:	Overcoming	Barriers	to	
Successful	Implementation	.	eds.	by	Shore,	B.,	Aulls,	M.	W.,	and	Delcourt,	M.	New	York:	
Laurence	Erlbaum	Associates	

Fraser,	A.	(in	press,	a)		Play	the	Piano	with	Your	Whole	Self	.	Novi	Sad:	Piano	Somatics	Press	

Fraser,	A.	(2012)		All	Thumbs:	Well-Coordinated	Piano	Technique	.	Novi	Sad:	Maple	Grove	Music	

Fraser,	A.	([2003]	2011)		The	Craft	of	Piano	Playing:	A	New	Approach	to	Piano	Technique	.	2nd	
edn.	Lanham:	Scarecrow	Press	

Fraser,	A.	(2010)		Honing	the	Pianistic	Self-Image:	Skeletal-Based	Piano	Technique	.	Novi	Sad:	
Maple	Grove	Music.	

Maes,	S.	(2014)		Technique	Doesn’t	Exist:	Maria	Joao	Pires	piano	.	[video]	[online]	EPRC	
Productions.	available	from	<	https://www.youtube.com/watch?reload=9&v=ZIiCPjPZyYE	>	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 37	
	

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Author	Biography	

Alan	Fraser,	B.Mus,	M.Mus,	Dip.AMPS,	PGDip.PP,	GCFP	

Canadian	pianist	and	pedagogue	Alan	Fraser	has	spent	50	years	developing		Piano	Somatics:	
The	Art	&	Science	of	Movement	at	the	Piano	,	his	approach	that	dovetails	the	principles	of	the	
Feldenkrais	Method	with	the	practicalities	of	piano	technique.	He	studied	with	Phil	Cohen	in	
Montreal	and	Kemal	Gekić	in	Novi	Sad,	Serbia,	and	completed	a	Feldenkrais	Professional	
Training	in	Hawaii	in	1992.	He	has	outlined	his	approach	in	his	series	of	books,		Natural,	Artistic	
Piano	Playing	,	and	works	with	students	around	the	world	at	the		Alan	Fraser	Piano	Institute	.	He	
teaches	at	the	University	of	Novi	Sad,	Serbia.	

Email:		phraser@alanfraserinstitute.com	
Member,	l’Association	Feldenkrais	France	

	
Fraser	•		Feldenkrais	Research	Journal,	volume	6		(2018-2019)	 38	
	

mailto:phraser@alanfraserinstitute.com

