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DIRECTIONS FOR LEARNERS.
d): The importance of eradicating all restraint or stiffness in all the required actions.
e): The nature of the three muscular components of Touch, viz.: (i) Finger-exertion, (2) Hand-exertion, and (3) Arm-weight, f): The three Species of combining these, viz.:—
I): The first Species of touch-formation: Finger-exertion only, with loose-lying hand and self-supported arm. 77): The second Species of touch-formation: Hand exertion behind the finger, with self-supported arm; and
III): The third Species of touch-formation: Release of Arm-weight in conjunction with finger-and-hand exertion. g): The relationship of Movement to these three Species of touch-formation (or structure), viz.:
Finger-touch (Finger-movement) may consist of either of the three Species.
Hand-touch 1 (Hand-movement) must consist either of second or third Species.
Arm-touch (Arm-movement) must imply use of third Species, h): The fact, that all true Agility and ease in playing depends on obedience to the two laws: (1) Lightness in Resting (so that we can stop working when we reach the sound) and (2) the careful cessation of all tone-producing action with the beginning of each individual sound—except in ppp.
i): The distinction between Weight-initiated touch and Mus-cularly-initiated touch—which is the main cause of difference between thick and thin tone-qualities, respectively.
j): The distinction between Clinging and Thrusting touch-methods—which so much enhances the difference between singing and bright tone-qualities.
k): The fact, that the clinging (or flatter) finger requires more or less Upper-arm release; whereas the thrusting (or bent-finger) demands a more or less forward-supported Upper-arm—or Elbow. 1): The great influence of Forearm Rotary-freedom in all passages, and the rotary change, from note to note, nearly always, m): How the Weight used in Weight-touch should cease to 1 So-called "Wrist-touch," or "Wrist-action."