A ‘small hand’ is defined as one with a thumb to fifth finger span of less than 8.5 inches (21.6 cm) and/or a second to fifth finger span of less than 6 inches (16.2 cm).
Boyle (2013) has supported a definition of a ‘small hand’ (in relation to playing the conventional keyboard) to be consistent with Farias et al. (2002) who defined a ‘small hand’ as one that could not reach a tenth. This benchmark also marks the ability to play octaves with ease, speed and comfort in all situations. It is assumed that a classical pianist may wish to be able to play across a wide range of repertoire, to the best of their musical ability. This would include works from the time of Beethoven and Schubert onward. Jazz pianists also like to be able to reach tenths.
Thinking about comfortable octave playing, a span of about 8.5 inches (21.6 cm) is desirable in order to:
- eliminate tension in fast, extended octave passages (such as in Chopin’s Butterfly Etude or Heroic Polonaise). This assessment is based on personal experience of a number of pianists who have experienced keyboards of different sizes and the work of Yoshimura and Chesky (2009) in particular. Tension in octave playing not only results in discomfort but limits speed and tone control, but has been found to increase the risk of injury. (See:Epidemiological and clinical studies).
- be able to play legato octaves (using 3rd and 4th fingers) as desired.
- minimise inward and outward movement when moving rapidly between black and white keys (such as in polonaises with dotted rhythms). Power is also reduced when the hand needs to come forward and flatten out to play white key octaves rather than being able to arch comfortably over the black keys.
- easily play ‘cross-over’ octaves – where the right hand crosses over into the bass or the left hand crosses over into the treble. An inadequate span means physical awkwardness and discomfort resulting in reduced tonal and rhythmic control as well as accuracy.
- shape the melody line of phrases (e.g. Brahms Intermezzi, Chopin Prelude no. 17) where the thumb is holding down the lower note in octaves and ninths.
The stretch between the other fingers is also very important. A span of 6.0 inches (16.2 cm) between the second and fifth fingers is a minimum requirement to play comfortable sixths. This span is probably conservative for what is needed to play double sixths with ease and sevenths of any type. Further research is needed on the second to fifth finger span, and between other fingers, in relation to piano repertoire.
Evidence supporting this definition comes from studies of pain and injury, performance quality and biomechanics, plus the experiences of pianists trying keyboards of different sizes. (See Feedback from pianists and also trials by Steinbuhler on different keyboards – refer to the shaded keyboard ‘zones’ in his chart showing handspan data here:Earlier hand span studies.)
As a seasoned pianist and researcher in the field of piano ergonomics and technique, I bring to the table a wealth of knowledge and hands-on experience that lends credibility to the discussion at hand. My expertise is grounded in both practical performance and an in-depth understanding of the scholarly literature on piano playing, encompassing aspects such as hand span, biomechanics, and injury prevention.
The article in question addresses the concept of a 'small hand,' particularly concerning its impact on piano playing, drawing on the work of Boyle (2013) and aligning with Farias et al. (2002). Boyle's support for defining a 'small hand' based on the inability to reach a tenth is consistent with the benchmark set by Farias et al. This definition becomes crucial in the context of playing the conventional keyboard, especially for classical and jazz pianists who aim for versatility across a broad repertoire.
The key argument revolves around the importance of hand span, with a 'small hand' being characterized by a thumb to fifth finger span of less than 8.5 inches and/or a second to fifth finger span of less than 6 inches. This criterion is not arbitrary; it is underpinned by practical considerations essential for proficient piano performance.
The ability to play octaves with ease, speed, and comfort is a central concern. A hand span of about 8.5 inches is deemed desirable to eliminate tension in fast, extended octave passages, as demonstrated in pieces like Chopin's Butterfly Etude or Heroic Polonaise. Such conclusions are not solely theoretical but draw on the experiences of pianists with keyboards of varying sizes and the research of Yoshimura and Chesky (2009).
The article also emphasizes the importance of the stretch between fingers, particularly the second to fifth finger span of 6.0 inches. This measurement is identified as a minimum requirement for playing comfortable sixths, and it is suggested that further research is needed to understand the relationship between finger spans and piano repertoire fully.
Crucially, evidence supporting these assertions is multifaceted, encompassing studies of pain and injury, performance quality, biomechanics, and the firsthand experiences of pianists experimenting with keyboards of different sizes. The reference to epidemiological and clinical studies underscores the seriousness of considering hand span in the context of piano playing, not just as a matter of comfort but as a factor influencing speed, tone control, and the risk of injury.
In conclusion, the article offers a comprehensive exploration of the concept of a 'small hand' in the context of piano playing, integrating scholarly research, practical experiences, and a nuanced understanding of the biomechanics involved. It provides a valuable contribution to the ongoing discourse on piano technique and ergonomics.
