‘Wye Even Pavasr Nexps ro KNOW anour ms Bove SHOULDER BLADE MOVEMENTS bel uniform shoulder. Move them and forth and out 1 the sles wth tht Smge tn mind Lift hen a ft put your hands on the plan keyboard, aleage ih tera tbs ofthe Bug oar tre Beck ed fort th ts nn cry ‘ean move in myriad ways: oninging down end up, fen tm mid ft other ong jorvard and back, rotating over the ribs. Punts should ‘consciously develop awareness of the mebslity ofthe shoulder blaes. Tagine your arma as appendages «fot then aro peo kaya hang ing Miamapping ofthe arm uructure and the subtequent fixing ofthe collarbone and shoulder blade have additonal implications for the orgenist. In order t reach {freely to an upper keyboard, one mut not only rock gently foriard on the wit ‘hones, but the collarbone and shoulder blades must be free to ove on wll At ‘you reach up fr a higher keyboard, there wil be slight movement in the strno- Clacicula joint atthe shoulder bles mnove up aed out bn a wort of hugging or ‘erepping-around gesture. {can be help forthe organist st at the console and experiment with these ‘movements seithout actually playing. Sit balanced om the ait bone, then rock slightly foreard while extending the arme out and around ax though hugging 2 tree. Then practice wing thie gesture to reach the pper keyboard, and fly ‘to play on the upper keyboard. Ifthe arm structure i free to move and there ie 1 fcing ofthe ellarbone and shoulder blade, the balance ofthe toro on the st ‘bones willbe retined while atthe same time enabling the honda to move freely to-upper keyboards and to manipulate slope.‘Wher Even Parase Ness ro Know nour Ta BoDy_ the bone whe allowing movoment to involve the whole shape tecteratics of the ligaments holdig tho Bones together determine wbat lds of ‘motion are posble at each ont. to peri ase ploiog brings about disbution of movement aciong joins, with no pat doing more share pianists rogard flats s fed, or stax ces to more from. The shoulder amp, is Ted pce from wich the aren mo that ayo talking een bave dan! consequences. Thiaking of one part beds «fixed place fom which to move fensng my stable pace to move for, farm joint, Pianists need to develop a tie as a whole isuanisnappingofbodly maton. I can eise sy hand above my head using 2 fre, fd pt of my ody sting as «fed pace 1 ‘move fom, When Tov tht way, T move ‘Marne ra An AND HAND SHOULDER JOINT STERNOCLAVICULAR JOINT 5 CARPOMETACARPAL (cmc) JOINTS. (Canning the wri othe hand, ELBOW JOINT WRIST JOINT(S), Realy 2 ony 5 METACARPOPHALANGEAL (CP) JOINTS ‘Connecting the hand to the Bngers 4 PROXIMAL INTERPHALANGEAL (iP) JONNTS: “he second” jt of the Ragen “Thre ae fustad of bese the tomb cls tii 5 DISTAL INTERFHALANGEAL ol Baer ja ‘The 32 bones ofthe arm are connected by 24 joints.‘ur Bvmay Puyast Naps vo KNow aBour THE Boe Deter than I dink of one part ara sable core. Retaining the owsrenen of support ple to move fom. ‘ment (prided you do not hal them tense). This elle "Vunero-seayuar rye” It andi goed for you To decop sent ofthe whale orm, you need te pratce moving &. Stand in balance and stand othe feng of support threugh your Mapence i Anwe 9 HanD 1p locate your stemocletalr fons, place the fingertips of your rit hed 9 your