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4 DIRECTIONS FOR LEARNERS.
hear that beginning, and it in too late then to influ-ence the sound, except as regards its mere continuation.
f): It is wrong to squeeze the key-beds, because it prevents tone, impairs musical-result, impedes Agility, and is besides fatiguing.
g): You must feel the "giving-way point" of the key, so that you may be able to tell how much force is required for each note. Never therefore really hit the keys. __________________
CONCEPTS OF TOUCH:
THE DIFFERENCE BETWEEN STACCATO AND LEGATO, HOW IT SHOULD BE PRODUCED AND CONCEIVED:
§ 15. To obtain Staccato, you must allow the key to rebound; otherwise the damper will not descend sharply enough to prevent the prolongation of the sound. It is not enough
merely to allow the key to rise soon after the sound is reached; on the contrary, you must so carefully time the cessation of your action against the key, that the key jumps back like a ball, and brings your finger up with it, in its rebound.
§ 16. If you want the sound to continue (Tenuto or Legato) , then you must allow sufficient Weight to continue resting on the key to keep it down. But you should not use more Weight continuously on the key than will just suffice to sound the key softly. The weight left on the keyboard between the successive notes in Legato, should therefore be quite light, even when you have to use much energy and weight during key-descent to obtain a forte.
§ 17. Realise now, that in playing a loud note either Tenuto or Legato, you have really to do two different things:—(1) you must use sufficient energy to make the key move down swiftly enough to obtain that forte, and while you must stop using most of this energy the moment the hammer reaches the string, you must nevertheless (2) continue using some little remnant of energy (just sufficient Weight) to keep the key depressed.