I am Doubled-Jointed (Hypermobility)... Technique help?

[callawisteria]

I have been playing for a good 7 years and have bounced between a few teachers. My current one has noticed that my hyper-mobility in all my fingers has given me poor technique. In her opinion, it is unhealthy for my neck, fingers, and wrist, and I play with added pressure and extra tension that could be easily relieved with proper technique.  I haven't really noticed anything alarming or stressed beforehand. However, my playing is already quite challenging since I have smaller than average hands.

When I play, my knuckles collapse and I press my whole fingertip down. This occurs in all my fingers, both hands. Since my all the knuckles in my hand are double jointed, the knuckles that connect my palm to my fingers dent inward drastically. This loses the bubble (holding an apple/mouse) effect. Added to this, my wrist perks upward and creates a downward slope in the back of my hand, the 'crooked wrist.'

Any recommendations on how to correct this or how to work with this? I have already tried a few finger exercises that are meant to improve playing technique, but I reached no avail.

[iansinclair]

You may find this very difficult to overcome.  I do have a few thoughts, though -- but I won't guarantee that they will help!

First, and overall -- relax your arms and shoulders as much as you can -- with one limit: keep enough tension in your upper arms to keep the lower arm more or less horizontal, and try to arrange your piano bench or whatever so that when they are horizontal, and the rest of the upper body relaxed, the wrists end up slightly -- and inch or two -- above the keyboard.  That way your hands and fingers won't be trying to support the wrist.

Second, practice -- whatever you like to practice! -- thinking about touching the keys with just the tips of the fingers, and pressing down with the tips -- keeping the fingertips as vertical to the key as you can.  Make sure your fingernails are short!  This will be a real mental effort, so don't try to do it for too long at a time, nor on pieces you are trying to perfect for a concert or recital or something.  You have other things to worry about with those!  You can also drive your friends (classmates, coworkers, whatever) slightly bats by just tapping the tips of the fingers on your desk from time to time.

Third, and perhaps most important, remember that the objective of the exercise is to make beautiful music, not present a beautiful picture.  To the extent that the collapsing fingers limit your technique and ability to make beautiful music, work on it.  Otherwise -- don't worry about it.

[outin]

I am severely hypermobile as well, to the point of having health issues. I also have small hands and my span in the RH is further limited by a joint and tendon problem on the thumb.

When I started to play the piano I tried to follow the instructions and developed a lot of tension problems and carpal tunnel symtoms. Only after I found a way to compromise between the ideal playing technique and what my physique allows I started to feel more comfortable with my playing. Now I understand that some things I cannot practice away. The problem is that teachers don't seem to know how to handle such limitations of physique so you are quite alone in trying to work with them. I've been with my teacher for over 5 years and now she gets that I literally cannot do some things with my hands and fingers, it's not a matter of not trying enough or not wanting to practice. Also all the BS about hand shape and size not mattering can be really demotivating. The piano keyboard is ideal for some hands and less so for others. To admit that is the first step to develope a healthy way of playing despite one's physical limitations.

How it works for us now:
I try to play something the way my teacher advices. If that does not work or I get nasty feelings from practicing that way, I discard it and concentrate on trying to find some other comfortable way to get the music sounding the way it should sound. If my hands look bad doing it who cares if it feels and sounds fine. Finding suitable fingerings is a big part of it.

I too have to keep my nails extermely short to play with curved fingers. I have almost no pads on them so they easily slip and the nail joint gives away. Whenever possible I play with a  flatter hand and fingers for better span and to avoid wrist pressure. It's important to learn how to keep the knuckles from collapsing, but at the same time avoid too much tension on the forearms that is caused by trying to keep the finger nail joint from giving away. Despite the times of frustration I think I am fortunate to have a teacher who concentrates heavily on technique and who does not want to give in and just let me play sloppily or weakly. It has forced me to spend countless of hours on the piano just analyzing what I do and if I can make it work better somehow. Watching real pianists play has been somewhat helpful too, not to imitate, but to see that there really are different ways to achieve beautiful sound.

After getting a new baby grand this summer I realize it also makes a big difference what you practice on. I can play with different pianos, but continuous practice with an intrument that is difficult to play with my hands won't make me play better but quite a opposite. Practicing without extra tension has made a huge difference in just a few months.

Finger exercises are useful to some extend, but they have not done anything to "correct" my hands. But exercise in general is really important for me, when my neck, back and shoulders get stiff my playing suffers immediately. So I try to exercise regularly even if I never liked it.

The bolded part would worry me a little:
"In her opinion, it is unhealthy for my neck, fingers, and wrist, and I play with added pressure and extra tension that could be easily relieved with proper technique." If you are very hypermobile and have small hands it will not be easy to work on your technique. So my advice is to work on it, but on your own terms and be frank and firm with your teacher. If you are uncomfortable to do what you are asked for or just don't understand how because your fingers cannot, say it. Forcing your hands may develope problems instead of solve them.

[inkspot]

Ah yes, I have this as well. Its something to work around, but its not impossible.

As annoying as it can be, I found slow practice to be the most effective. This will let you keep your neck, arms, back, and shoulders loose, you're touch light, and give you the time needed to make sure your hand position remains in good form as you go along.

What also proved helpful to me was playing slow and staccato. The grabbing motion of the staccato did wonders for my finger strength, but perhaps this is only something that worked for me.

[avanchnzel]

I have double joints in my last three fingers on both hands - and my pinky notoriously gets stuck sometimes; a simple bend and straighten makes a little snapping sound, so it's really not a good anatomical model at all.

It took a lot of practice watching my fingers for signs of collapse before I could solve it at all. One approach I used was to film my playing and watch for collapsed fingers and correct that passage. It's about playing with curved (not curled!) fingers and relaxation of the entire arm as well.

My fingers are still double-jointed and whenever they go up in the air you can still see the hyperextension, but on the keys they are firm and steady.