THE "GUIDE-MAINS" AND IT'S DANGERS...

It is crucial to illuminate the transformative power of movement retraining in conquering injuries like tendonitis among pianists. This common ailment in the music community can be significantly alleviated by adopting a coordinated technique that rejects isolated finger movement. Countless pianists have successfully overcome tendonitis through this method, their stories serving as beacons of hope for those currently struggling.

Historically, guide-mains, or hand guides, have been infamous for contributing to tendonitis among pianists. While initially designed to aid finger precision, these devices inadvertently promote isolated movements. The insidious nature of guide-mains undermines the natural synergy required for a pianist's hands and arms to function harmoniously. Practising with a guide-man at first seems to work in a subtle and apparently innocuous way, nevertheless inviting problems in the long term when using it as the 'to-go" pedagogical method or tool exclusively. After being initially charmed with the device, Liszt and Chopin eventually rejected the guide-mains. Liszt even called the device a "guide-âne". But in all fairness, this device has some benefits when practising extensive passage work. However, a thorough kinesthetic awareness of the complete playing apparatus is an absolute must. I propose limiting guide-mains to safeguard pianists from isolated finger movement.

Coordinated technique lies at the heart of movement retraining, emphasising the interconnectedness of hand, finger and arm motions. Pianists must recognise the necessity of integrating their movements, allowing fluidity and reducing strain on individual tendons. Through targeted retraining exercises, pianists can break free from the shackles of isolated finger movements and cultivate a technique that promotes longevity in their musical journey.

In tandem with movement retraining, the integration of specific homoeopathic remedies has shown promising results in supporting pianists on their path to recovery. These remedies, tailored to address inflammation and promote overall musculoskeletal health, complement the retraining process. A holistic approach that combines movement retraining with homoeopathic remedies to address tendonitis and other piano-related injuries, ensuring sustained well-being for pianists.

Here are a few Homoeopathic remedies that have helped me and some of my injured students. But please, always consult a qualified Homeopath.

Hypericum Perforatum is an excellent homoeopathic remedy for pain in the fingers and hands due to carpal tunnel syndrome, where the pains are tingling and burning. It can also help with numbness, crawling sensations in the hands, and pain. Causticum is another effective homoeopathic medicine for tearing-type pains in the hand and fingers with numbness. It can be beneficial when the pain is worse in cold air and better with warm applications. Plumbum Metallicum is used in the homoeopathic treatment of pain in the hand and fingers when there is numbness, tingling, and weakness in the hand, making it difficult to lift or grasp anything. Ruta Graveolens is an excellent homoeopathic remedy for treating pain in the hand and wrist due to carpal tunnel syndrome, where the condition arises from swelling of the tendons in the wrist, leading to pressure on the median nerve. This can cause symptoms of pain and numbness in the hands and fingers.

In conclusion, the elimination of tendonitis/injuries in pianists hinges on rejecting isolated finger movement and adopting a coordinated technique through movement retraining. The incorporation of targeted homoeopathic remedies marks a paradigm shift in preserving pianists' health and longevity, allowing them to continue expressing their artistry without the burden of physical constraints.