What pianists say
Comments by pianists using reduced-size keyboards (now usually referred to as ESPKs*) come from various sources including published papers by Dr Carol Leone (Southern Methodist University, Texas), Christopher Donison (Canadian pianist), Rhonda Boyle (Melbourne pianist) and results of a survey of 22 pianists in North America and Australia (Boyle, 2012).
You can read many personal stories from pianists and teachers by downloading the document: PASK Quotes and Stories below.
There is a great deal of consistency among these comments about the benefits of smaller keyboards. Actual hand size and shape, however, would most likely influence pianists’ reactions. For a pianist with extremely small hands, the expanded repertoire suddenly available and ability to play octaves and large chords far more comfortably, are among the most dramatic changes.
The results of the survey of 22 pianists (Boyle, 2012) are consistent with comments published by Leone, Donison and others. Respondents reported improvement with many of the 22 skills listed. They were most likely to report ‘dramatic’ or ‘considerable’ improvement with:-
For a pianist with a hand span closer to the average for females, changes may be more subtle, such as the improved legato playing, musical line and phrasing and reduced tension when playing octaves. This group of pianists, who can pay a 10th for the first time, also find that are able to tackle repertoire normally the preserve of male pianists, such as works by Rachmaninoff and other Russian composers, Ravel, and advanced Chopin or Liszt works requiring larger spans to play effectively.
A Walter upright piano with DS5.5® (7/8) keyboard was provided at the 2011 Australasian Piano Pedagogy Conference for delegates to try. Despite the fact that most of those who played it did so for no more than 15 minutes, all who played long enough to feel sufficiently comfortable found certain skills to be easier, including males with hand spans of more than 8 inches (20 cm). 'Octave passages' and 'balance and voicing' were most commonly noted as being easier. At the 2013 and 2015 Australasian Piano Pedagogy Conferences a Kawai GM12 grand piano with 15/16 keyboard was available; delegates trying it out found that the time needed to adjust from the conventional keyboard was minimal.
At the 2015 conference, six of Melbourne's top professional pianists took part in a recital and panel discussion using the Kawai GM12. Their hand spans ranged from 7.1 to 9.2 inches and they had all had very little practice time on the smaller sized keys. For the pieces they chose, ALL pianists discovered advantages when playing the 15/16 keyboard. For those with the smallest spans, the benefits were profound and wide-reaching, while for those males with the largest hands, they found larger intervals (9ths and 10ths) much easier, as well as voicing of large chords such as in a Rachmaninoff Etude. This experience suggests that smaller keyboards would benefit a very large majority of pianists at least for some repertoire - including those with spans of more than 9 inches! It also indicates that repertoire written by some very large-handed male composers - Rachmaninoff, Vine, Grainger, Liszt - is inaccessible to many, and even male pianists with 'average' hands are able to perform some of their works more successfully on a keyboard with narrower keys.
Although its focus is not about ESPKs as such, an excellent book published by Oxford University Press - Adaptive Strategies for Small-Handed Pianists (Deahl & Wristen, 2017) - provides a great summary of the many 'work-around' strategies that small-handed pianists need to adopt and gives the clear message that the issues are not trivial. The title does not totally convey the breadth of what is covered - the introductory chapters deal with the evolution of the piano and piano repertoire, anatomy and biomechanical principles relevant to piano playing, the wide-ranging problems of small-handed pianists and common maladaptive tendencies.
* ESPK- Ergonomically scaled piano keyboard
You can read many personal stories from pianists and teachers by downloading the document: PASK Quotes and Stories below.
There is a great deal of consistency among these comments about the benefits of smaller keyboards. Actual hand size and shape, however, would most likely influence pianists’ reactions. For a pianist with extremely small hands, the expanded repertoire suddenly available and ability to play octaves and large chords far more comfortably, are among the most dramatic changes.
The results of the survey of 22 pianists (Boyle, 2012) are consistent with comments published by Leone, Donison and others. Respondents reported improvement with many of the 22 skills listed. They were most likely to report ‘dramatic’ or ‘considerable’ improvement with:-
- ability to hold down notes as intended
- feeling of power where needed
- fast passages of octaves or large chords
- time taken to master technically difficult passages.
- leaps
- legato playing
- broken octaves
- broken chords/arpeggios
- changes of hand position
- time taken to learn new repertoire
- awkward or non-ideal fingering
- accuracy
- overall feeling of security
- balance
For a pianist with a hand span closer to the average for females, changes may be more subtle, such as the improved legato playing, musical line and phrasing and reduced tension when playing octaves. This group of pianists, who can pay a 10th for the first time, also find that are able to tackle repertoire normally the preserve of male pianists, such as works by Rachmaninoff and other Russian composers, Ravel, and advanced Chopin or Liszt works requiring larger spans to play effectively.
A Walter upright piano with DS5.5® (7/8) keyboard was provided at the 2011 Australasian Piano Pedagogy Conference for delegates to try. Despite the fact that most of those who played it did so for no more than 15 minutes, all who played long enough to feel sufficiently comfortable found certain skills to be easier, including males with hand spans of more than 8 inches (20 cm). 'Octave passages' and 'balance and voicing' were most commonly noted as being easier. At the 2013 and 2015 Australasian Piano Pedagogy Conferences a Kawai GM12 grand piano with 15/16 keyboard was available; delegates trying it out found that the time needed to adjust from the conventional keyboard was minimal.
At the 2015 conference, six of Melbourne's top professional pianists took part in a recital and panel discussion using the Kawai GM12. Their hand spans ranged from 7.1 to 9.2 inches and they had all had very little practice time on the smaller sized keys. For the pieces they chose, ALL pianists discovered advantages when playing the 15/16 keyboard. For those with the smallest spans, the benefits were profound and wide-reaching, while for those males with the largest hands, they found larger intervals (9ths and 10ths) much easier, as well as voicing of large chords such as in a Rachmaninoff Etude. This experience suggests that smaller keyboards would benefit a very large majority of pianists at least for some repertoire - including those with spans of more than 9 inches! It also indicates that repertoire written by some very large-handed male composers - Rachmaninoff, Vine, Grainger, Liszt - is inaccessible to many, and even male pianists with 'average' hands are able to perform some of their works more successfully on a keyboard with narrower keys.
Although its focus is not about ESPKs as such, an excellent book published by Oxford University Press - Adaptive Strategies for Small-Handed Pianists (Deahl & Wristen, 2017) - provides a great summary of the many 'work-around' strategies that small-handed pianists need to adopt and gives the clear message that the issues are not trivial. The title does not totally convey the breadth of what is covered - the introductory chapters deal with the evolution of the piano and piano repertoire, anatomy and biomechanical principles relevant to piano playing, the wide-ranging problems of small-handed pianists and common maladaptive tendencies.
* ESPK- Ergonomically scaled piano keyboard
Adjustment and swapping between keyboards
Comments about the initial adjustment and swapping between keyboards negate common preconceived ideas about such difficulties:
‘Our expectation was that it might take days or weeks to adjust to this keyboard. In fact, we found that it generally takes a pianist less than an hour.’
‘Those who regularly play both keyboard sizes, as I do, are familiar with both, much as one might be if driving two family cars. Organists and harpsichordists regularly deal with this phenomenon without problems, Violinists who also play the viola experience the same type of dual ability.’
Dr. Carol Leone, Chair of Keyboard Studies, Meadows School of the Arts, Southern Methodist University, Dallas, Texas, USA, 2003.
‘My first attempt at playing the new keyboard resulted in over-shooting octaves, but this tendency was much reduced after 30 minutes or so. Within an hour, I felt reasonably comfortable and was able to play existing repertoire with no great difficulty. The narrower black keys were not an issue. With some repertoire, I am now able to play previously omitted notes or use more appropriate fingering. Becoming secure with such changes requires just a few practice sessions, as is normally the case when making these sorts of changes.’
Rhonda Boyle, Melbourne, Australia, 2009.
The amount of time needed to feel comfortable with the smaller keyboard varies among individuals; with some, adjustment is almost immediate. It does not appear to relate to hand size - some large-handed male pianists have been observed to adjust very quickly.
Pianists often assume that it would be difficult for a pianist to sit and play a ‘normal’ piano having done substantial practice on one with smaller keys. But the opposite is the case. According to Linda Gould, Steinbuhler & Company's first customer for a DS5.5®:
'Practising on the narrower keys actually makes it EASIER to play a large key piano (but you won’t want to anymore, unless you have to). Playing a piano that ‘fits your hand’ allows the pianist to release a tremendous amount of subconscious tension. It simply changes the way you approach a piano. This new knowledge is transferred to the large keys and you play with much less tension and more accuracy. The notes you can’t reach… you let them go.'
‘Our expectation was that it might take days or weeks to adjust to this keyboard. In fact, we found that it generally takes a pianist less than an hour.’
‘Those who regularly play both keyboard sizes, as I do, are familiar with both, much as one might be if driving two family cars. Organists and harpsichordists regularly deal with this phenomenon without problems, Violinists who also play the viola experience the same type of dual ability.’
Dr. Carol Leone, Chair of Keyboard Studies, Meadows School of the Arts, Southern Methodist University, Dallas, Texas, USA, 2003.
‘My first attempt at playing the new keyboard resulted in over-shooting octaves, but this tendency was much reduced after 30 minutes or so. Within an hour, I felt reasonably comfortable and was able to play existing repertoire with no great difficulty. The narrower black keys were not an issue. With some repertoire, I am now able to play previously omitted notes or use more appropriate fingering. Becoming secure with such changes requires just a few practice sessions, as is normally the case when making these sorts of changes.’
Rhonda Boyle, Melbourne, Australia, 2009.
The amount of time needed to feel comfortable with the smaller keyboard varies among individuals; with some, adjustment is almost immediate. It does not appear to relate to hand size - some large-handed male pianists have been observed to adjust very quickly.
Pianists often assume that it would be difficult for a pianist to sit and play a ‘normal’ piano having done substantial practice on one with smaller keys. But the opposite is the case. According to Linda Gould, Steinbuhler & Company's first customer for a DS5.5®:
'Practising on the narrower keys actually makes it EASIER to play a large key piano (but you won’t want to anymore, unless you have to). Playing a piano that ‘fits your hand’ allows the pianist to release a tremendous amount of subconscious tension. It simply changes the way you approach a piano. This new knowledge is transferred to the large keys and you play with much less tension and more accuracy. The notes you can’t reach… you let them go.'
Technical ease
Improved technical ease with a wide range of pianistic skills is the most obvious benefit – noted by pianists with hands that are very small right through to those with hand spans around the ‘average’ for females.
‘I thus began the great discovery of what it feels like to play the piano with larger hands. It was like an epiphany. All the touches and techniques in piano studies – and I stress ALL of them – were made easier by a factor of a hundred. ‘
Christopher Donison, Executive Artistic Director, Music by the Sea, and co-inventor of DS keyboards, British Columbia, Canada, 1998, p. 42.
A fundamental reason for the greater ease of playing relates to figures being more ‘under the hand’, necessitating far less hand movement:
‘The technical approach on the smaller keyboard involves smaller, more refined movements and less use of throwing, pivoting, rotating and generally ‘flying about’.
Dr. Carol Leone, Chair of Keyboard Studies, Meadows School of the Arts, Southern Methodist University, Dallas, Texas, USA, 2003.
A small handed pianist will notice technical improvement, greater ease and the possibility of increased speed. This relates not only to the most obvious tasks, like being able to reach chords that were previously not possible, but also as a result of:-
‘I thus began the great discovery of what it feels like to play the piano with larger hands. It was like an epiphany. All the touches and techniques in piano studies – and I stress ALL of them – were made easier by a factor of a hundred. ‘
Christopher Donison, Executive Artistic Director, Music by the Sea, and co-inventor of DS keyboards, British Columbia, Canada, 1998, p. 42.
A fundamental reason for the greater ease of playing relates to figures being more ‘under the hand’, necessitating far less hand movement:
‘The technical approach on the smaller keyboard involves smaller, more refined movements and less use of throwing, pivoting, rotating and generally ‘flying about’.
Dr. Carol Leone, Chair of Keyboard Studies, Meadows School of the Arts, Southern Methodist University, Dallas, Texas, USA, 2003.
A small handed pianist will notice technical improvement, greater ease and the possibility of increased speed. This relates not only to the most obvious tasks, like being able to reach chords that were previously not possible, but also as a result of:-
- fingers being closer to the keys and wrists not having to strain in a high position to reach a greater span.
- hand position changes being reduced and marked fingering suddenly making sense.
- rolled chords and pedalling to mask notes not held manually being reduced or eliminated.
- leaps and wide spread arpeggio-type figures feeling much more secure.
- chords and octave passages lying much more ‘under the hand’, which is more compact and less stretched.
Effective practice and speed of learning
‘I realize now, looking back’ that most of the time I spent practicing was used trying to overcome difficulties because of my hand-size….If you spend 90% of the time trying to overcome limitations imposed by hand size, then you are truly disadvantaged’.
Christopher Donison, Executive Artistic Director, Music by the Sea, and co-inventor of DS keyboards, British Columbia, Canada, 1998, p. 43.
The greater the degree of technical difficulty for a pianist, the greater the amount of practice required. This means more time being spent on technical issues, resulting in less time for focusing on musical issues. When playing a piece on a smaller keyboard that was previously learnt on the conventional keyboard, it immediately becomes obvious how much physical and mental effort had been invested to just ‘get the notes’ in passages that were not ‘under the hand’. This difference is magnified when both hands are dealing with difficult tasks (e.g. fast octaves in one hand and widely spread arpeggio-type figures in the other, often encountered in Chopin). Suddenly one no longer has to focus on just reaching the octaves, but there is the ability to relax the hand and think about shaping the musical line being played by both hands. When focusing on extreme technical problems, it is simply not possible to think about the musical issues to the extent required to achieve an excellent musical outcome, no matter how much practice has been done.
To maintain good technique and minimise strain, small-handed pianists need to leap across the keyboard much more:
‘When jumping from one note to a distantly placed note, small-handed players should use their arms to find the notes and refrain from reaching with the fingers. This necessitates much practice purely for the sake of accuracy.’. Brenda Wristen, Associate Professor Piano Pedagogy and Keyboard Skills, University of Nebraska-Lincoln, Nebraska, USA, and Lora Deahl, Associate Professor of Piano, Texas Tech University, USA (2003).
Christopher Donison, Executive Artistic Director, Music by the Sea, and co-inventor of DS keyboards, British Columbia, Canada, 1998, p. 43.
The greater the degree of technical difficulty for a pianist, the greater the amount of practice required. This means more time being spent on technical issues, resulting in less time for focusing on musical issues. When playing a piece on a smaller keyboard that was previously learnt on the conventional keyboard, it immediately becomes obvious how much physical and mental effort had been invested to just ‘get the notes’ in passages that were not ‘under the hand’. This difference is magnified when both hands are dealing with difficult tasks (e.g. fast octaves in one hand and widely spread arpeggio-type figures in the other, often encountered in Chopin). Suddenly one no longer has to focus on just reaching the octaves, but there is the ability to relax the hand and think about shaping the musical line being played by both hands. When focusing on extreme technical problems, it is simply not possible to think about the musical issues to the extent required to achieve an excellent musical outcome, no matter how much practice has been done.
To maintain good technique and minimise strain, small-handed pianists need to leap across the keyboard much more:
‘When jumping from one note to a distantly placed note, small-handed players should use their arms to find the notes and refrain from reaching with the fingers. This necessitates much practice purely for the sake of accuracy.’. Brenda Wristen, Associate Professor Piano Pedagogy and Keyboard Skills, University of Nebraska-Lincoln, Nebraska, USA, and Lora Deahl, Associate Professor of Piano, Texas Tech University, USA (2003).
Pain and injury
Many of the pianists using reduced size keyboards previously suffered pain or injury. In virtually all cases reported in the survey of pianists (Boyle, 2012), previous problems had disappeared since they made the change. This means longer practice times become feasible.
Comments include:
Description of pain and injury: ‘Hand and arm cramps. Hands went numb too. Shortened my practice time and enjoyment.’
Change since using 7/8 keyboard: ‘Haven’t had any since, and when I have the time, I am able to practice extended hours.’
Overall benefits: ‘I like the comfort of playing, feels less frustrating. I never knew this was a possibility so it seems like a miracle to me. After 30 years of playing, to have this opportunity is heavenly. And now when circumstances call for my over-2 hours of practice, I don’t dread the pain. My confidence has grown as a result.’
Amy Keffabers, Pennsylvania, USA
Description of pain and injury: ‘Tension in arms and hands, numbness. I could not play for longer than 10 minutes and did not play for 2 years because of it.’
Change since using 7/8 keyboard: ‘I can play for much longer and continue to play every day. I don’t get frustrated from the pain and from being limited in my playing.’
Jen McCabe, Ontario, Canada
Comments include:
Description of pain and injury: ‘Hand and arm cramps. Hands went numb too. Shortened my practice time and enjoyment.’
Change since using 7/8 keyboard: ‘Haven’t had any since, and when I have the time, I am able to practice extended hours.’
Overall benefits: ‘I like the comfort of playing, feels less frustrating. I never knew this was a possibility so it seems like a miracle to me. After 30 years of playing, to have this opportunity is heavenly. And now when circumstances call for my over-2 hours of practice, I don’t dread the pain. My confidence has grown as a result.’
Amy Keffabers, Pennsylvania, USA
Description of pain and injury: ‘Tension in arms and hands, numbness. I could not play for longer than 10 minutes and did not play for 2 years because of it.’
Change since using 7/8 keyboard: ‘I can play for much longer and continue to play every day. I don’t get frustrated from the pain and from being limited in my playing.’
Jen McCabe, Ontario, Canada
Musical differences
Musical differences reported by pianists include:-
Many of these more subtle improvements are what differentiates a great pianist from one who is simply competent, in other words, those who win major competitions and go on to successful performing careers from those who do not.
Comments from respondents to the survey of pianists (Boyle, 2012) included:
“When my 7/8 keyboard was installed, the first thing I did was try to play Rachmaninoff’s G minor Prelude. I was amazed by the sound I could produce with the dense octave chords. I had never heard those sounds from my playing before!”
“Even though the first movement of Beethoven’s Moonlight Sonata is not especially difficult to play, I had always struggled to effectively execute the two voices in the right hand since it requires a constant octave reach. When I played the piece on the 7/8 keyboard, I thought: ‘Ah! So this is how it’s supposed to sound and feel.’ It was delightful!”
- Improved legato and musical line with less reliance on the pedal.
- Ability to perform legato octaves.
- Increased power due to the hand being more compact.
- Improved voicing of chords and balance.
- Ability to spend more time on musical aspects rather than just focusing on hitting the right notes.
Many of these more subtle improvements are what differentiates a great pianist from one who is simply competent, in other words, those who win major competitions and go on to successful performing careers from those who do not.
Comments from respondents to the survey of pianists (Boyle, 2012) included:
“When my 7/8 keyboard was installed, the first thing I did was try to play Rachmaninoff’s G minor Prelude. I was amazed by the sound I could produce with the dense octave chords. I had never heard those sounds from my playing before!”
“Even though the first movement of Beethoven’s Moonlight Sonata is not especially difficult to play, I had always struggled to effectively execute the two voices in the right hand since it requires a constant octave reach. When I played the piece on the 7/8 keyboard, I thought: ‘Ah! So this is how it’s supposed to sound and feel.’ It was delightful!”
Memorisation and sight-reading
Some pianists report greater ease with memorisation, for example:
‘I was very surprised by the difference it made in my ability to memorise music. Because everything was more natural and less awkward on the smaller keyboard, it was easier for my hands and muscles to learn the patterns and commit them to memory.’ Nicole Halton, New York, USA.
The first pianist to purchase a DS5.5® keyboard, Linda Gould, commented: ‘Sight-reading probably has the most dramatic effect. When you are sight-reading difficult music (especially with other chamber musicians) you do not have the time to work out the easiest way of playing a passage, you just plow through it. I am talking about pieces like Brahms Horn Trio, Saint Saens Piano Trios …(www.steinbuhler.com).
It is possible that sight-reading would be more dramatically affected for people with the smallest hands, particularly if there is also poor flexibility between fingers, to the extent that many basic chords cannot be played on the conventional keyboard without dropping notes. When sight-reading, such a pianist has to make instant decisions about which notes to omit or how to get around a passage which is difficult or unplayable.
‘I was very surprised by the difference it made in my ability to memorise music. Because everything was more natural and less awkward on the smaller keyboard, it was easier for my hands and muscles to learn the patterns and commit them to memory.’ Nicole Halton, New York, USA.
The first pianist to purchase a DS5.5® keyboard, Linda Gould, commented: ‘Sight-reading probably has the most dramatic effect. When you are sight-reading difficult music (especially with other chamber musicians) you do not have the time to work out the easiest way of playing a passage, you just plow through it. I am talking about pieces like Brahms Horn Trio, Saint Saens Piano Trios …(www.steinbuhler.com).
It is possible that sight-reading would be more dramatically affected for people with the smallest hands, particularly if there is also poor flexibility between fingers, to the extent that many basic chords cannot be played on the conventional keyboard without dropping notes. When sight-reading, such a pianist has to make instant decisions about which notes to omit or how to get around a passage which is difficult or unplayable.
Repertoire
Seventeen of the 22 respondents in the survey of pianists (Boyle, 2012) reported some change in their repertoire since beginning to play the reduced-size keyboard. All reported improvements with at least some existing repertoire. Romantic works were frequently mentioned as being tackled for the first time or becoming much easier, including Chopin, Liszt and Rachmaninoff Etudes, other Chopin repertoire such as the opus 53 Polonaise and Ballades, and works by Brahms, Debussy and Ravel. As Linda Gould (Canadian pianist and the first purchaser of a DS5.5® (7/8) keyboard) says:
‘I couldn’t ever get a Chopin Etude to performance level. Now I can!’
Others nominated any repertoire with large chords or octaves requiring a fast tempo or legato playing, as well as Bach (where inner voices needed to be held), Beethoven, and some 20th century composers. One mentioned improved security even with Mozart.
The restriction on repertoire choice is illustrated in this story from Dr Carol Leone from Southern Methodist University (Dallas, Texas): ‘Yesterday I gave an audition lesson to an incoming graduate student. She played a challenging Romantic work with a lot of struggle, even though she intentionally left out many notes to accommodate her small hands. I then found out that she is an injured pianist, with chronic carpal tunnel and also nerve damage in her right arm. Then she told me that she came to SMU specifically to study on the DS5.5® keyboard. So, over to the DS5.5® Steinway we went and she proceeded to play passages from her piece perfectly with all of the notes! She looked at me incredulously and burst into tears, apologizing over how emotional she felt and exclaiming how she has been trying for years to “discipline myself to stay away from Romantic repertoire”.’
‘I couldn’t ever get a Chopin Etude to performance level. Now I can!’
Others nominated any repertoire with large chords or octaves requiring a fast tempo or legato playing, as well as Bach (where inner voices needed to be held), Beethoven, and some 20th century composers. One mentioned improved security even with Mozart.
The restriction on repertoire choice is illustrated in this story from Dr Carol Leone from Southern Methodist University (Dallas, Texas): ‘Yesterday I gave an audition lesson to an incoming graduate student. She played a challenging Romantic work with a lot of struggle, even though she intentionally left out many notes to accommodate her small hands. I then found out that she is an injured pianist, with chronic carpal tunnel and also nerve damage in her right arm. Then she told me that she came to SMU specifically to study on the DS5.5® keyboard. So, over to the DS5.5® Steinway we went and she proceeded to play passages from her piece perfectly with all of the notes! She looked at me incredulously and burst into tears, apologizing over how emotional she felt and exclaiming how she has been trying for years to “discipline myself to stay away from Romantic repertoire”.’
Overall comfort and enjoyment
Any pianist using a keyboard with narrower keys would undoubtedly agree that the increased technical ease, reduced stretching and straining, and reduced need to focus on technical issues and ability to think more about the music, reduced anxiety about the possibility of ‘coming to grief’, and the expanded repertoire available, all contribute to a dramatic increase in enjoyment. Greater comfort and technical facility, plus reduced risk of mistakes or injury is also closely linked with improved quality of a performance, leading to greater ease and confidence.
‘You need to allow yourself at least a couple of days with a DS keyboard to begin the journey of discovery of exactly what it is that you have been missing, and the unnecessary obstacles you have been facing all of your life. Trust me when I tell you that it is lot more profound that merely "stretching" a distance between any 2 digits.'....email from Christopher Donison to Rhonda Boyle, 31 Dec 2006.
From one of the pianists in the survey by Boyle (2012): ‘Everything improved for me; it is so much fun to practice.'
Although the majority of pianists do not become professional concert pianists for a variety of reasons, why should so many be unnecessarily excluded from playing certain repertoire solely on the basis of hand size? As Australian pianist Erica Booker says:
‘In my youth, I wanted to play a Rach concerto and my teacher said to me: ‘Ingrid Haebler wouldn’t dare!’ implying, to my angst, that I was destined to be one of the Baroque/Classical pianists who never touched a Romantic work!’
‘You need to allow yourself at least a couple of days with a DS keyboard to begin the journey of discovery of exactly what it is that you have been missing, and the unnecessary obstacles you have been facing all of your life. Trust me when I tell you that it is lot more profound that merely "stretching" a distance between any 2 digits.'....email from Christopher Donison to Rhonda Boyle, 31 Dec 2006.
From one of the pianists in the survey by Boyle (2012): ‘Everything improved for me; it is so much fun to practice.'
Although the majority of pianists do not become professional concert pianists for a variety of reasons, why should so many be unnecessarily excluded from playing certain repertoire solely on the basis of hand size? As Australian pianist Erica Booker says:
‘In my youth, I wanted to play a Rach concerto and my teacher said to me: ‘Ingrid Haebler wouldn’t dare!’ implying, to my angst, that I was destined to be one of the Baroque/Classical pianists who never touched a Romantic work!’
References
Booker, E. (2010). Pianos: one size fits all…big adults. Tempo, Suzuki Talent Education Association of Australia (NSW) Inc., Autumn, 8-9.
http://www.cicadabay.com/pianos
Boyle, R., & Boyle, R. (2009). Hand size and the piano keyboard. Literature review and a survey of the technical and musical benefits for pianists using reduced-size keyboards in North America. Proceedings of the 9th Australasian Piano Pedagogy Conference: Expanding Musical Thinking. Sydney, Australia. http://www.appca.com.au/2009proceedings.php
Boyle, R. (2012). The experience of playing reduced-size piano keyboards. A survey of pianists. MTNA e-Journal, April.
https://www.researchgate.net/publication/264457996_The_experience_of_playing_reduced-size_keyboards_A_survey_of_pianists
Boyle, R. (2013). The benefits of reduced-size keyboards for smaller-handed pianists: An exploration of biomechanical and physiological factors. Proceedings of the 11th Australasian Piano Pedagogy Conference: Opening Doors: The Complete Musician in a Digital Age. University of Southern Queensland, Toowoomba, 2-6 July 2013. http://www.appca.com.au/2013proceedings.php
Deahl, L. & Wristen, B. (2017). Adaptive Strategies of Small-Handed Pianists, Oxford University Press.
Donison, C. (1998). Small hands? Try this keyboard, you’ll like it. Piano & Keyboard, July-August, 41-43.
Donison, C. (2000). Hand size versus the standard piano keyboard. Medical Problems of Performing Artists, 15, 111-114. http://chrisdonison.com/keyboard.html
Leone, C. (2003). Goldilocks had a choice. American Music Teacher, June-July, 26-29.
http://www.steinbuhler.com/GoldilocksFeature.pdf
Leone, C. (2015). Ergonomic Keyboards:Size does Matter. Piano Professional, EPTA (UK), Summer. http://www.carolleone.com/ergonomic-keyboards/
Leone, C. (2015). Size is Key. Clavier Companion, Frances Clark Center for Keyboard Pedagogy, USA , September/October. http://www.cicadabay.com/pianos
Deahl, L. & Wristen, B. (2003). Strategies for small-handed pianists. American Music Teacher, 52 (6), 21-25.
Son, Y., & Chesky, K. (2014). Awareness and attitude of professional keyboard players towards small size keyboards. Poster paper presented at seminar, University of North Texas.
http://www.steinbuhler.com/html/our_story.html
http://www.cicadabay.com/pianos
Boyle, R., & Boyle, R. (2009). Hand size and the piano keyboard. Literature review and a survey of the technical and musical benefits for pianists using reduced-size keyboards in North America. Proceedings of the 9th Australasian Piano Pedagogy Conference: Expanding Musical Thinking. Sydney, Australia. http://www.appca.com.au/2009proceedings.php
Boyle, R. (2012). The experience of playing reduced-size piano keyboards. A survey of pianists. MTNA e-Journal, April.
https://www.researchgate.net/publication/264457996_The_experience_of_playing_reduced-size_keyboards_A_survey_of_pianists
Boyle, R. (2013). The benefits of reduced-size keyboards for smaller-handed pianists: An exploration of biomechanical and physiological factors. Proceedings of the 11th Australasian Piano Pedagogy Conference: Opening Doors: The Complete Musician in a Digital Age. University of Southern Queensland, Toowoomba, 2-6 July 2013. http://www.appca.com.au/2013proceedings.php
Deahl, L. & Wristen, B. (2017). Adaptive Strategies of Small-Handed Pianists, Oxford University Press.
Donison, C. (1998). Small hands? Try this keyboard, you’ll like it. Piano & Keyboard, July-August, 41-43.
Donison, C. (2000). Hand size versus the standard piano keyboard. Medical Problems of Performing Artists, 15, 111-114. http://chrisdonison.com/keyboard.html
Leone, C. (2003). Goldilocks had a choice. American Music Teacher, June-July, 26-29.
http://www.steinbuhler.com/GoldilocksFeature.pdf
Leone, C. (2015). Ergonomic Keyboards:Size does Matter. Piano Professional, EPTA (UK), Summer. http://www.carolleone.com/ergonomic-keyboards/
Leone, C. (2015). Size is Key. Clavier Companion, Frances Clark Center for Keyboard Pedagogy, USA , September/October. http://www.cicadabay.com/pianos
Deahl, L. & Wristen, B. (2003). Strategies for small-handed pianists. American Music Teacher, 52 (6), 21-25.
Son, Y., & Chesky, K. (2014). Awareness and attitude of professional keyboard players towards small size keyboards. Poster paper presented at seminar, University of North Texas.
http://www.steinbuhler.com/html/our_story.html
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