Direction of Movement on the Keyboard

Moreover, the direction of a movement is not in itself an adequate indication of the location of the contracting and relaxing muscles. The extension of the fore-arm is normally the work of the triceps. But if the extension takes place in a vertical plane, gravity will suffice to extend the elbow,without any cont raction of the elbowextensors. And if the extension take place slowly, in such a position, the actual flexors remain cont racted in order to counteract the accelerating effect of gravity. This has led some investigators into wrong conclusions as to the simultaneous cont ract ion of antagonistic muscles. The contract ion of the elbow flexors during a movement of elbow extension is not a sign that they are acting as initiators of the movement, but as inhibitors. And, for the same reason simultaneous contraction of antagonists need not mean incoordinated movement . Only when the contraction results in a hyper-t ension, exceeding the demands of the actual resistance being overcome, does incoordination begin. We cannot, therefore, l tell from the appearance of a movement what muscles are cont racting, a fact which we shall meet again and again in analysing touch-forms.

In the best coordinated movement there is a considerable loss of energy, if the output is measured solely by the demands of the actual tonal values produced. In any keyboard movement, the greater part of the energy is consumed in shifting the parts int o position for the final tone-production, and .the amount of energy required for t his is often a ridiculously small part of the energy used in the total movement . Yet, in spite of t his apparently wasted work, the movement remains coordinated because the spatial displacement is absolutely essential to the desired tone-production. When the left arm is transferred slowly from a low bass region across the right hand to reach, let us say, a high t reble key, played softly, practically the whole energy is used in transferring the arm, but a minute part being required for the actual tone-product ion. Yet the preliminary transfer is necessary in order to reach the key. The movement thus remains coordinated.

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