Hidden Actions of Forearm Rotation

The discoveries of Tobias Matthay with respect to forearm rotation, do not refer merely to the actual rotatory movements previously mentioned, but deal particularly with the invisible changes of state rotationally. Tobias Matthay's discoveries regarding forearm rotation in piano playing focused on the subtle, often imperceptible, rotational adjustments that occur in the arm. These "invisible changes of state" are critical to achieving a smooth, controlled technique. Matthay emphasized the importance of these micro-adjustments in maintaining balance and minimizing unnecessary tension, which contributes to more fluid and expressive playing. His insights extended beyond visible movements to include the nuanced, internal sensations that guide effective and efficient pianistic motion.
These rotational states of change deal with

1. momentary reversals or repetitions of stress and
2. relaxation rotationally

which, although unseen, are needed for every note we play. Whether we are aware of the rotational actions of the forearm or not, they are required to achieve a continuous sense of motion. The fact is, that no player ever has been successful, nor could be, without the closest conscious or unconscious obedience to these very laws of forearm rotation, which is mostly unseen during performance, are nevertheless aurally and physically necessary to enable effortless playing at the piano.

As these all-important alternations and repetitions of rotational stress are comparatively rarely disclosed to the eye (being usually unaccompanied by any rotational movement whatsoever) and therefore hidden, they have totally escaped attention or recognition, alike by players and teachers during all these past centuries of keyboard use.
During practice, the artist must analyze the rotational stresses to determine if we are using

1. single rotation or
2. double rotation.

• Successful Players have always obeyed Rotation
  Obviously, all players in the past, who successfully happened to master their instrument, must also have fulfilled these hidden changes in the forearm stresses rotationally, although unaware they were obeying any natural laws. Such master-artists were rare and all the other players continued to play with supposed stiff limbs. The weak fourth and fifth fingers could not be liberated, since these fingers were not coopearting with the hand and forearm.