|Share page||Visit Us On FB|
56 key-treatment; muscular aspect.
i): Certainty, both as to Notes and as to Expression, can alone be secured in this way.
j) : In slow successions of notes, each one is to be thus individually felt and judged. In quick passages, the separate units are merged into one general sensation and judgment of the keyboard.
k): Attention to key-resistance also compels Musical-attention: for we cannot muscularly judge the key as to Tone and Time, unless we have a sound in our mind, exactly dictated by our Musical-feeling at that moment.
a) : The finger-tip must reach the key with but little percussion.
b): The preliminary fall of the limb upon the key-surface, should be free from perceptible exertion; it should arise rather from Relaxation.
c): It is not until we reach the key, that we can commence the act of pressing it into motionf—the act proper of tone-production.
d) : The act of reaching the key, and the act of setting it into motion, need not necessarily be separate ; the two may coalesce into an unbroken descent.
e): Contact, may, on the other hand, be made some time before the note is required; several notes at a time may thus be previously felt, in certain rapid runs.
f) : The difference between Sudden and Gradual depression of the key should mostly depend on the condition of the muscles during the subsequent operation.1
g): Harsh sounds do not carry; hence they do not sound so
full and " grand " a little way off, as they seem to do close to
1 That is, it should depend upon what we do during the operation of tilting the Key into sound.