Increasing distance between fingers

Topic perhaps useful, particularly regarding the “gap” which, from what I have read about Mozzati, also applies between all fingers and not just between the thumb and pinky.

http://www.pianoconcerto.it/forum/index.php?/topic/2049-esercizi-per-prendere-le-decime-per-chi-ha-le-mani-piccole

alexwaston wrote:

Hi everyone, Smiley, perhaps because I started playing late, at 17, my hand has some elasticity problems.

I sometimes come across chords containing an octave with notes inside it that are difficult for me to play. To explain myself better, I don't have problems with the span between my thumb and pinky; the difficulty lies in the other fingers.

Can anyone recommend something that might help me?

Thanks in advance

but how long have you been playing and what do you play?? I ask you because it is a problem that depends a lot on experience. That is, in the beginning, we are all less elastic and encounter difficulties with those types of chords; then, slowly, by continuing to study even simply through repertoire pieces, while trying to always keep the hand relaxed, they resolve themselves... one should look especially for the most natural position possible.

It wouldn't be up to me to answer, precisely because the undersigned has some difficulty with certain positions (the fifth finger is not very long!). Generally, I can say that the small hand assumes more open positions and when it must ascend with the thumb on the black keys (see Chopin Etude Op. 25 No. 11), it must move with more decisiveness and even further in advance. In late positions (see Chopin Etude Op. 25 No. 1), it will describe a wider lateral movement without "being ashamed" of the awkwardness. As Nancy said, one must seek the most natural position possible. Never contract! The small hand must make more use of longitudinal and transverse rotational movement. It will learn immediately to connect distant positions by throwing itself with the shoulder and being very elastic in the wrist. Not that the other hands shouldn't do it, but for the small hand, it will be a primary necessity. What else can I say? Even "suitable," "dedicated" fingerings will be of help. A prime example is the crossing over of the third at the beginning of the theme of Beethoven's 32 Variations and/or, in general, 51,41 instead of 52,41 in the sixths. I mean greater and bolder thumb mobility when it finds itself in an internal position within the legato succession. Gradually, as Nancy well said in two words (mine are too many at two hundred!), the solutions will necessarily and indispensably be found. Happy studying