CONCLUDING REMARKS.
I will only add in conclusion, that it would be well not to continue
too long with the same gymnastic exercise, but to allow the muscles
and joints some change, which will be found both agreeable and
advantageous. If, therefore, the student be tired of one exercise, he
should begin another. Besides, if the fingers are fatigued and hot 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 an easier movement. And be it remembered,
“these exercises are not irksome, but recreative.”
It may also be recommended in such cases, to dip the points of the
fingers for half a minute into half a glassful of cold water, and let
them get dry of themselves, thus cooling by evaporation; or still
better, wash the hands with soap and water.
To sum up: No student ought to begin to learn or 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 affects
injuriously 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 muscle should be brought into the highest condition
of strength and flexibility. Do you suppose that, in training and
preparing him for the race,—a process often extending over a
considerable period,—that he is, in the course of it, much galloped?
By no means! Galloping forms the exception, and, during this long
interval, walking, trotting, and cantering form his chief training
paces; namely, four-fifths or seven-eighths of the time; galloping only
one-fifth or one-eighth part! His skilful trainer knows that much rapid
exertion, such as galloping long continued, weakens and wears out his
muscle. So, also, in the hunting-field and on the road, it is “the pace
that kills.” Even so with the player upon a musical instrument; _long
continued_, rapid movements wear out the muscle and shake the nerves,
while slow exercises, however vigorously executed, invigorate and
strengthen both (see p. 75, note).
The exercises for stringed instruments will be most satisfactorily
performed before a looking-glass, and I may here add that a little
work by the author, entitled “Gymnastic Exercises for the Violin and
Violoncello,” having for its special object the exercise of the wrist
of the right hand on the instrument, will be published in a short time.
* * * * *
And here I avail myself of this opportunity to raise a question for
consideration regarding that part of the violin-bow which the right
thumb presses. Let me ask, _first_, why should this little sharp
projection be permitted to appear on every bow, to the prejudice of
the placing firmly the thumb there, instead of being _rounded off_?
and _secondly_, why should there not be placed, close to this point,
especially for students, a small piece of round gutta percha—a gutta
percha button—as a _stay_ to the thumb? Great facility would thus be
afforded for holding firmly the bow. Any one may put a piece of gutta
percha in the candle, and, when softened, stick it fast on the place
indicated.
Finally, I repeat that, in performing any of these gymnastic exercises,
the principal condition to be adhered to is, that they should always
be made in the morning, also immediately before playing; and that
while great vigour is imparted to them by following out strictly
the directions given, 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 and Wrist,” founded as they are
on anatomical and physiological principles, may find favour with the
Public, and be instrumental in promoting the best interests of Art.
THE END.
JOHN CHILDS AND SON, PRINTERS.
TESTIMONIALS.
_From_ PRESCOTT HEWETT, F.R.C.S., _Surgeon to St George’s Hospital,
late Professor of Anatomy to R.C.S._
_Aug. 28th, 1865._
“Having carefully examined the gymnastic exercises invented by Mr Edwin
Ward Jackson for the due working of the fingers and hand, I have great
pleasure in stating that I believe that such exercises will be of the
greatest use, not only to musicians, but to every one who wishes to
possess a perfectly free use of his hands. The power and the freedom
obtainable by exercises such as these have been little thought of; but
from what I have seen, I feel confident that Mr Jackson’s exercises, if
rightly used, are destined to make the hand much more perfect for all
its purposes than it really is.”
* * * * *
_From_ LUTHER HOLDEN, F.R.C.S., _Senior Lecturer on Anatomy at
Bartholomew’s Hospital_.
_Aug. 28th, 1865._
Since our last interview I have often thought and talked about the
practical effect of your ‘Gymnastic exercises for the Fingers.’ On
anatomical and physiological grounds, it is quite certain that these
exercises are admirably calculated to liberate the ligaments of the
fingers, and to give a freer play and increased vigour to those muscles
upon which many of the varied and more independent movements of the
fingers depend.
“I have no doubt whatever that such exercises will be of the greatest
service in educating the fingers of musicians, and thereby save them a
great deal of time and trouble.”
* * * * *
_From_ RICHARD QUAIN, F.R.S., _Professor of Chemical Surgery in
University College; Surgeon Extraordinary to the Queen_.
_August 2nd, 1865._
I write to you upon the important facts you were good enough to
communicate to me to-day, and to explain how they may be accounted
for scientifically. Your proposal to exercise the hand and fingers,
and your plan of systematically carrying out the proposal so as to be
beneficial to musicians, are _both new_ to me. Judging on principle,
and from a knowledge of what occurs in other parts of the body, I have
no doubt that the system must be useful, for it will give increased
mobility to the fingers and increased development and power to the
small muscles—Lumbricales (the _musculi fidicinales_ of Cowper), and
metacarpal interosseous, as well as indeed to the general flexors and
extensors of the hand. In short, the exercises you propose will be to
the hand and fingers what the ordinary gymnastic exercises are to the
rest of the limbs. The result will be useful wherever the free play
and vigour of the fingers are needed; would therefore, I anticipate,
be especially advantageous to musicians, and I am inclined to add to
painters and to writers also.” ...
* * * * *
_From_ ERASMUS WILSON, F.R.S.
“On carefully thinking over your demonstration of gymnastic exercises
as applied to the hand, I can see in it only good; it is ingenious,
practical, and physiological, and eminently adapted for the purpose to
which you propose to adopt it; namely, the manipulation of the strings
and keys of musical instruments. I am glad to hear that you intend to
give your labours to the public very shortly.... I see no possible
inconvenience, much less danger, in the process.”
* * * * *
_From_ DR VIRCHOW, _Professor of pathological Anatomy, Berlin_.
_June 3rd._
TRANSLATION.
“The exposition of your proposed Gymnastics for the regular exercise
of those portions of the body which are used most partially, namely,
the fingers, deserves, assuredly, a great and practical recognition.
They are addressed, according to my opinion, to a real want or hiatus.
Not only will they very naturally serve as a special preparation for
musical objects, but also for a like participation of the muscle-groups
of the forearm and the hand, which, in all the usual labours of daily
life, are only very partially brought into action. In the case of men
who only write, and women who sew, or do other fine work, the great
disadvantages arising from the special pressure in individual groups
of muscles will be altogether avoided; and I regard it as extremely
probable that your gymnastics will diminish or entirely remove many
disorders, such as writing-cramp, contortions, &c.”
* * * * *
_Official extract from the books of the_ SOCIETY OF PHYSICIANS AT
BERLIN _of the Meeting held by them_, _June 6th_.
_President_—DR BEREND, Member of the Royal Privy Council, and Director
of the Gymnastic-orthopedic Institution, Berlin.
_Secretary_—DR GUMBINNER.
“Mr Jackson from England delivered a lecture upon gymnastics of the
fingers and wrist. The fatigue which immediately attended the playing
on the violin late in life, incident even to a person strong and
athletic in all other respects, led him to the discovery, after
lengthened investigations, _first_, that the fingers are the least
exercised of all the active muscles of the human body; _secondly_,
that they are thereby, on physiological grounds, also the weakest;
and _thirdly_, as he afterwards on minute investigation found out,
that the finger-muscles are almost the only active muscles in the
frame to which a properly constituted system of gymnastics had never
been applied. He discovered that the cause of this fatigue lies in
the want of finger-training; and the lecturer explained, and adduced
proof, that the muscles, hitherto constrained in their movements by
tight transverse ligaments, are instantaneously set free by gymnastic
stretching applications to those ligaments. The society expressed
itself entirely in accord with the theory as well as the practice which
the lecturer adduced; they desired to add that both the one and the
other are entirely new to them, and to express a belief that the same
will be introduced into every school in Germany as soon as they shall
be made known.
“In expressing their best thanks to Mr Jackson for his most interesting
discourse, the society desire to record the fact, which the lecturer
in soliciting their indulgence stated, that he had commenced the study
of the German language for the first time at a late period of life,
namely, at the age of 52 years, exactly six years ago; nevertheless
the lecturer seems to have mastered its great difficulties, and has
delivered gratuitously this and many other lectures extempore in
excellent German, an achievement which the society believes to be
without precedent.”
Expressions of marked approval have also been received from W.
FERGUSSON, F.R.S., _Surgeon Extraordinary to the Queen_, PROFESSOR R.
OWEN, F.R.S., D.C.L., _British Museum_, DR JOSEPH HIRTH, _Professor of
Anatomy, Vienna_, and other distinguished persons.
* * * * *
_From_ JOHN HULLAH, _Professor of Music in King’s College and in
Queen’s College; Organist of Charterhouse, &c., &c._
_July 27th, 1865._
Mr Edwin W. Jackson has called attention to an anatomical fact which
is likely to prove of great importance to students of instrumental
music; and the apparatus and course of exercises by which he proposes
to turn the knowledge of this fact to account seem well calculated for
the attainment of the object he has in view—that of increasing the
strength, pliability, and expansiveness of the hand.”
* * * * *
_From_ E. F. RIMBAULT, LL.D., F.S.A., _Member of the Royal Academy
of Music in Stockholm; Musical Examiner in the Royal College of
Preceptors, London, &c., &c._
“Mr E. Ward Jackson’s discovery is of the _highest importance_ to all
performers on musical instruments requiring the use of the fingers.
Several attempts have been made, at different times, to construct
apparatus which would give strength and elasticity to these important
members of the hand; but they have all signally failed. Mr Jackson
has been the _first_ to consider the subject _philosophically_ and
_anatomically_. His discovery will form an era in the progress of the
manipulation of the art.”
* * * * *
_From_ JULES BENEDICT, _Pianist_.
_July 22nd, 1865._
“I believe that Mr Jackson’s simple but ingenious contrivance will
be highly beneficial for the musical student, and contribute to the
clearness of touch and independence of the fingers. Experiments on a
large scale, and in schools where music is taught, would still more
contribute to acquaint the public with his clever and useful invention.”
* * * * *
_From_ PROFESSOR WYLD, _Mus. Doc., Cantab.; Professor of Music in
Gresham College_.
_July 23rd, 1865._
“Many thanks for sending me your pamphlet, which I have read very
carefully. It has interested me very much, and I have no doubt of the
practical excellence of your discovery.”
* * * * *
_From_ PROSPER SAINTON, _Leader of the Royal Italian Opera; of the
Sacred Harmonic Society; of the Musical Society of London; and of the
New Philharmonic Society_.
_Aug. 5th, 1865._
“I have great pleasure in adding my testimony to that given to you by
so many artists. I congratulate you upon your invention, which I am
certain will be of great utility to pupils of the violin, in giving to
their fingers strength and elasticity.”
* * * * *
_From_ WALTER MACFARREN, _Professor of Pianoforte in the Royal Academy
of Music_.
_July 28th, 1865._
“Mr. Edwin W. Jackson has done me the favour to explain to me his new
system of gymnastics for the fingers, and I have no hesitation in
stating that in my opinion it is calculated to obtain, by the simplest
means, the independence of wrist and flexibility of finger essential
to the pianist, or indeed to the performer on any keyed instrument. I
consider that the introduction of this system would be of great value
to both professor and pupil in schools and conservatories where music
is studied.”
* * * * *
_From_ JOS. JOACHIM, _Violinist_.
“I must, on reflection, admit that the gymnastics for the fingers
which you suggest must, by proper application of the same, contribute
greatly to strengthen and render pliant the finger-joints.”
* * * * *
_From_ PROFESSOR MOSCHELES.
“Your very ingenious discovery that the necessary strength and
flexibility of the fingers for pianoforte and violin-playing can be
effected by means of cylinders placed between the fingers and other
appliances, must prove to be of great use.”
* * * * *
_From_ DR H. H. PIERSON, _Professor of Music, Edinburgh_. Many
thanks for your staff, which is an excellent idea, and a very
useful invention, as well as the cylinders. The advice contained in
your ‘Finger und Handgelenk Gymnastik,’ together with the set of
regulations there laid down, is of eminent value, if properly attended
to, as a means of preparing the fingers and wrists for playing the
piano, violin, &c., and for rendering them strong and flexible, the
two indispensable requisites. I particularly admire the extreme
simplicity of all your inventions, which really remind one of the
‘Egg of Columbus,’ and I should not be surprised if your ideas (so
disinterestedly offered to the public) were to introduce a new era in
the study of the pianoforte and stringed instruments. They must also be
of signal service to organists, to whom I should specially recommend
your apparatus.”
* * * * *
_From_ HERRN LAUTERBACH, _Violinist_.
“Being always very much in favour of gymnastics of all kinds, I hasten
to inform you that your discovery relating thereto has interested me
very much, and I am satisfied that great good will arise from it.”
* * * * *
_From_ HENRY BLAGROVE, _Professor of the Royal Academy of Music;
Leader of the Philharmonic Society; of the Musical Society of London.,
&c., &c._
_July 22nd, 1865._
“On perusal of your MS. relative to the development of the muscles
of the hands, &c., as applied to musicians, I have great pleasure in
offering you my testimony to its being a valuable adjunct to musical
tuition where mechanical action is required, such as for the piano,
or violin and violoncello. I think it shortens the usual routine of
practising to gain strength, and will give at once freedom and force to
the hand, fingers, arm, &c.”
* * * * *
_From_ J. T. CARRODUS, _Leader of Her Majesty’s Theatre_.
_July 23rd, 1865._
“I am convinced that Mr Jackson’s invention for the development of
the muscles of the fingers and hand will be of great value to musical
students.”
* * * * *
_From_ E. AGUILAR, _Pianist_.
_July 22nd, 1865._
“I consider Mr Ward Jackson’s system for the fingers remarkable for
its simplicity, ingenuity, and efficacy. I believe that its universal
adoption must materially benefit and assist all who cultivate
instrumental music.”
* * * * *
_From_ W. GEO. CUSINS, _Pianist, Organist to Her Majesty_.
_July 27th, 1865._
“I beg you will permit me to say how much interested I was this morning
with the highly ingenious method of developing the hand you were kind
enough to explain to me. I believe your discovery to be of great
importance to musicians who use their fingers. For myself I intend
trying your system, and shall likewise make my pupils use it.”
* * * * *
_From_ LINDSAY SLOPER, _Pianist_.
_July 31st, 1865._
“Allow me to express to you the interest I felt in your system of
finger-gymnastics as shown to me by you last week. Your inventions seem
to me very likely to produce the results you have sought, and I should
be very glad to see their utility tested in our music-schools.”
* * * * *
_From_ B. MOLIQUE, _Pianist_.
_July 22nd, 1865._
“Mr Jackson’s gymnastic invention for the fingers and wrists will be of
great benefit to musical students.”
* * * * *
_From_ J. BALSIR CHATTERTON, _Harpist to Her Majesty the Queen_.
_July 31st, 1865._
“I have taken time to think over your ingenious invention, and am of
opinion that it will be of incalculable service to harp players. I can
only hope that it will become extensively known, and shall be glad to
hear of the publication of your forthcoming work.”
* * * * *
_From_ JOHN THOMAS, _Harpist, Professor of the Royal Academy of Music;
Pencerdd Gwalia_.
_July 25th, 1865._
“I have much pleasure in bearing testimony to the importance of Mr
Jackson’s simple but clever invention for rendering the fingers
independent of each other, and in preparing them for execution upon
any musical instrument, thus greatly facilitating the attainment of
execution; and I sincerely hope that his invention will be made public,
in order that the world may derive the full benefit of it.”
* * * * *
_From_ JACQUES BLUMENTHAL, _Pianist_.
_July 25th, 1865._
“I have great pleasure in stating that I consider Mr Edwin W. Jackson’s
new system of gymnastics for the fingers a very ingenious invention,
and as simple as I believe it to be useful to the student; and if
generally adopted would prevent, no doubt, many a headache engendered
by the now prevailing system of exercises for the pianoforte and
violin.”
* * * * *
_From_ ADOLF POLLITZER, _Violinist, Royal Italian Opera_.
_July 24th, 1865._
“Mr Jackson deserves the thanks of every instrumentalist for his clever
invention for strengthening the fingers; and those who follow his very
ingenious system must find great benefit from it.”
* * * * *
_From_ R. SIDNEY PRATTEN, _Flautist, Royal Italian Opera_.
_July 7th, 1865._
“I feel satisfied that your very ingenious yet simple invention for
the exercise and strengthening of the fingers to the players of wind
instruments will be of the greatest value, as flexibility and strength
can be obtained even though the instrument may not be at hand; and I
shall have great pleasure in recommending it to all my pupils, as well
as professional brethren, as a thing indispensable for the purpose for
which it is intended.”
* * * * *
_From_ HENRY LAZARUS, _Clarionetist, Royal Italian Opera_.
_August 9th, 1865._
I was very pleased indeed this morning to hear you explain your
invention of ‘Gymnastics for the Fingers.’ It is extremely clever, and
I consider it will be of the greatest service to all performers on
wind instruments, as well as to pianists and performers on stringed
instruments. I conceive it will give great facility and lessen the
labour.”
* * * * *
_From_ ALFRED NICHOLSON, _Oboist, Royal Italian Opera_.
_July 24th, 1865._
“The system of gymnastics for the hand, invented by Mr Edwin Jackson,
is, in my opinion, calculated to be of great service to musical
professors and students, from the increased strength and flexibility
the fingers must gain by practice under this method.”
* * * * *
_From_ H. C. DEACON, _Pianist_.
_July 28th, 1865._
“I think your system of hand-exercise, as explained to me the other
morning, likely to be a useful adjunct to the pianoforte, inasmuch as
it tends to give increased extensions to an important part of the hand.”
* * * * *
_From_ JAMES HOWELL, _Contrebassist, Royal Italian Opera_.
_August 25th, 1865._
“It is with great pleasure that I testify to the soundness and
excellence of your system of gymnastics for the hand, as giving
flexibility and power to the fingers. It would prove of great advantage
to any member of the musical profession, if properly carried out.”
* * * * *
_The whole of the Orchestra of the Royal Opera-house at Stuttgart in
Wurtemberg, testified individually as follows_:
“That Mr Jackson’s discoveries and his gymnastics for the fingers and
wrist must certainly conduce to a quick and sure attainment of a solid
and a lasting execution upon the pianoforte, as also upon stringed
and wind instruments, that they are new and eminently practical, and
deserve to be everywhere adopted.”
* * * * *
_From_ EDWARD J. HOPKINS, _Organist to the Hon. Societies of the Inner
and Middle Temple_.
_Sept. 13th, 1865._
Mr Jackson has been so good as to explain to me —and to exhibit, his
apparatus and course of exercises for developing and strengthening the
muscles and powers of the hand, which I firmly believe are calculated
to be of very considerable importance to all practitioners upon musical
instruments.”